In 1941, Avery Parrish left the Hawkins orchestra, moved to California, and subsequently got into a bar fight in 1942 (no doubt 'after hours'). He suffered partial paralysis, at the age of 24, and never played again. He worked 'Day Jobs' for the rest of his life, and died in New York city under mysterious cirumstances at age 42.
Avery Parrish is included here primarily because of just one tune. He composed the much recorded blues "After Hours".
Among his credits are:
Among his works are:
Born in Chicago to Canadian parents, Petkere began as a performer in
vaudeville. In a 1998 interview she said: "My mother started my aunt and
me (I was five) as an act called 'Baby Dolls'...on the Pantages Circuit."
As a teenager, Petkere sang with a dance band and became a pianist for
Waterson, Berlin & Snyder, an important publishing company. She started
writing music in the 1920s. "Starlight (Help Me Find The One I Love)" was
her first published song (1931), and Bing Crosby recorded it for
Brunswick. She wrote many radio themes when her second husband, Fred
Berrens, was musical director at CBS.
In the first years of the Great Depression, she created some lovely,
haunting hits that were recorded and sung in America as well as abroad.
One of her most successful numbers is "Lullaby of The Leaves ." It was
through lyricist Joe Young that she was introduced to ASCAP (American
Society of Composers, Authors & Publishers), of which she was a member for
over six decades. In 1932 composer-publisher Irving Berlin, for whom she
had worked as a pianist, invited her to write for his prestigious
company. For Berlin she wrote "The Lady I Love," which was popularized by
Russ Columbo. Petkere declared, "I never was pals with the other women
composers, or even the male ones. I had a private life in Manhattan. I
lived at Hotel Pierre. My first husband, Eddie Conne and I lived
elegantly...You had to be businesslike about music, and I was. Only a
couple of music executives ever got what I call 'fresh' with me, and I let
them have it, smack in the face like you never saw. I never smoked and I
never drank, do you believe that?"
Because of some newspaper and radio stories, Petkere became a minor
Manhattan celebrity. Petkere reminisced, "I'd get off the 20th Century
[train], and the conductor would put that stool for me to step down on,
and somebody would hand me a big bunch of gorgeous roses, some absolute
stranger, and who was it? It was the press. They would bring the flowers
and then stand there and take these pictures of me. I even had some mail
addressed to me like this: 'Bernice Petkere, Queen Of Tin Pan Alley, New
York.' And I got it!"
She often wrote the lyrics as well as the music. One of her most
successful songs, such as "Close Your Eyes," that was an international
sensation in 1933 and is considered a "standard." The on-going play
between major and minor chords gives this song a distinct personality.
Several of Petkere's songs have this melancholy minor feeling to them.
When asked if she was reflecting the tenor of the Depression in her music,
she said absolutely not -- it was just her "thing" then.
Other Petkere songs include "My River Home," "By a Rippling Stream,"
"Stay Out of My Dreams," and "A Mile a Minute."
Petkere and her second husband, who died in 1974, moved to Southern
California in the late 1930s, where she busied herself writing more songs
and screenplays. She was a member of ACSAP, Writers Guild of America and
Song Writers Guild. She is survived by a sister, Renee Petkere Alvarez and
several cousins.
She was interned at Hollywood Forever Cemetery at 2:00 p.m. on
Wednesday, January 12, 2000.
Among the songs she composed are:
Early on, he studied with "Classical" teachers such as Alberto Ginastera,
Nadia Boulanger, and Herman Scherchen. In 1940, when Piazzola became a
member of 'Anibal Troilo's Orchestra', as a bandoneonista (an accordion type
of instrument), his musical preferences were divided between pure Classical
compositions and traditional Argentine Tangos for 'Orquestas Tipicas'. In
1954, Nadia Boulanger, his teacher in Paris at the time, suggested that his
true genius seemed to come out in his Tangos. At this same time, in Europe,
he heard the American Jazz musician Gerry Mulligan's Octet performing, and
Mulligan's performances would have a profound influence on Piazzola. After
this, Piazzola would return to the Tango and his instrument, the bandoneon
(which he had abandoned in 1950). His music then changed. Previously, he was
content writing either some Classical work or a Tango, but now the Tango itself became a
integral part of his Classical style. He would meld the Tango and the
Classical European styles.
In 1955, Piazzola returned to Argentina, after his studies with Nadia
Boulanger, and formed the 'Octeto Buenos Aires' (two bandoneones, two violins,
piano, cello, electric guitar and bass), a group that produced his final break
with the 'traditional' Tango, forever changing his attitude both as a
player and as a composer. His strong passion now was both to arrange
and to compose (during the next two years he would compose and arrange over
40 different works). In addition, he induced in the musicians about him that
drive and intensity which he had seen in Paris with the Mulligan Octet. Many
consider that the beginning of what came to be called 'Tango Contemporaneo'. Horacio Malvicino, who had a very strong Jazz background,
played the Electric Guitar, and this was the first time that Piazzola
introduced the concept of 'improvisation' during Live performances of the Tango. In the style of North
American Jazzmen, he gave space for individual musicians to improvise while playing his music.
Generally, however, improvisations were rare on his studio recordings. They began to appear in his later years.
Among his other works, to name but a few, are 1972s "Tristezas de un Doble A", and
the Operetta "Maria de Buenos Aires" (music- Piazzola, libretto- Ferrer).
Here's a photograph of Astor Piazzola and Horacio Ferrer,
showing Ferrer on the left and Piazzola on the right side. The picture was taken in 1968 during the first showing of the operetta.
In 1973, his Quintet, (especially reformed for this concert, and performing live)
recorded a wonderful version of Otono Porteno. On the CD, it is possible to hear pianist Osvaldo Tarantino playing a long improvisational passage.
In 1978, he again had a reformed quintet, the 'New Tango Quintet' whose members were
Fernando Surez Paz on violin, Hctor Console on double bass, Oscar Lpez Ruiz on electric guitar,
Pablo Ziegler, on piano and Astor Piazzola on Bandoneon. As mentioned, in Piazzola's later years, more Improvisational works would
appear, including different concert versions of 'Chin-Chins', (listen to the one recorded at the 1985 Montreal Jazz Festival), and the version of
'Muerte del Angel' with Gary Burton improvisating.
Interestingly, some of Piazzola's works are in the form of Suites that were gradually assembled, - not composed all at once. One example of this is "Las Estaciones Portenas" - The Four Seasons - (Verano Porteno, Invierno Porteno, Otono Porteno y Primavera Portena). Also, 1962's "La Muerte del Angel" is another such example. Both titles were composed for a theater play by the Argentine playwright, Alberto Rodriguez Munoz . ("Muerte del Angel" is similar in style to the first fugues written by Piazzola, the most famous of which is
perhaps 1960's "Calambre"; and another being "Fuga y Misterio".) The 4 Seasons were originally composed for his quintet (Piazzola's most
important group --bandoneon, violin, piano, electric guitar, and bass. In the original Invierno, one part was written for viola, but today, mostly a violin is heard, emulating the deeper tones of the viola.
To a great extent, Piazzola, abandoned the traditional concept of 'Theme or Form,' ... that is the AABA form of Popular Music. His music alternates between furious crescendo and quiescence. While today many claim, with some truth, that Piazzola killed the Tango, it should rather be said that Piazzola brought a great many "foreign" influences into what had been a purely "Argentine" Tango, due in no small part to his having been deeply affected by such men as Gary Burton, Dimitri Rostropovich, Gidon Kremer, Gerry Mulligan, and even The Kronos Quartet. This writer does not believe that Piazzola "killed" the Tango, rather that he extended it beyond it's original Dance boundary. Still, --it is very interesting to note that it is the 'dance' form of the Tango that remains so widely popular around the world.
Some of Pinkard's best known tunes are:
Pinkard also scored several Broadway shows, the most successful of which was
1922's 'Liza'.
During his career, Carlos judiciously extended the range, voice, and
dynamics of his instrument, the guitarra portuguesa, taking it to
new places, literally and figuratively. In 1957, he recorded his first
album, and continued to release several works and soundtracks through
1987. Movie director Paulo Rocha, for whom Paredes wrote the soundtrack
for the 1963 film "Os Verdes Anos," ("The Green Years"), once told
reporters that "He (Carlos) was a perfectionist. He played until his
fingers bled".
During the 1950s and 1960s, Paredes, who opposed the cruel right-wing
Portuguese dictatorship of Antonio Salazar, was imprisoned. During
periods of solitary confinment, Carlos would walk around his cell
pretending to play music. This led some prison inmates to believe he was
insane, but, in actual fact, he was writng compositions in his head.
In 1998, the American Kronos Quartet, a world renowned
Classical music-ensemble included 4 compositions by Carlos Paredes in
their repertoire (which also included works by Bartók, Webern,
Cage, Piazolla, Schnittke, Pärt, and Riley among others). The Quartet
chose his "Classics" compositions: -"Romance nr.1"; "Variacöes em
Ré Maior"; "Verdes Anos"; and "Variacöes sobre uma Danca
Popular", with musical arrangements for the Kronos Quartet by Argentine
composer Osvaldo Golijov. ("Verdes Anos" and "Romance nr.1" are in the
Kronos Quartet 1998 CD "Caravan").
Carlos Paredes, known as "the man with a thousand fingers", was age 79 when he died.
He was survived by his partner, musician Luisa Amaro.
The Portuguese President, Jorge Sampaio, remembered Paredes as "a genius musician, a model citizen and a good man."
Vangelis Pitsiladis
Currently no information available. He has contributed a music score for the film 'Martha' (1967)
Avery Parrish
b. Jan. 1917, Birmingham, Al, USA, d. Dec. 10, 1959, New York, NY, USA.
Avery was a cousin of pianiste-vocaliste Gladys Palmer. Avery's mother was also a pianiste. He attended Alabama State College and while there he began working for Erskine Hawkins. To New York City in 1934.
Mitchell Parrish, aka: Parish.
b. July 10, 1900, Shreveport, LA, USA. d. May 31, 1993, USA
Overview
Lyricist Mitchell Parrish was active from the 1920's to 1960's. He
grew up in New YOrk City, where he attended Columbia Unversity and
also New York University. He began his career as a staff writer for
one of the many music publishers then active in the city. Some of the
composers with whom he collaborated include Peter De Rose; Duke Ellington;
Sammy Fain; Will Hudson; Ben Oakland, and Frank Perkins. He also added
the lyrics to Leroy Anderson songs "Blue Tango", "Sleigh Ride" and "Belle
of the Ball". Mitchell also added lyrics to an immensely popular Italian
import "Volare".
1925 "Washboard Blues"
1927 "Bells of Avalon"
1928 "Sweet Lorraine", Pianist: I. Schwartz
1929 "Missouri Moon"
1931
"Corinna, Corinna"
"Star Dust", music by Hoagy Carmichael. This tune has been 'covered' by
more vocalists and recorded by more orchestras than any other popular song in history.
1932
"Cabin in the Cotton"
"The Seat Song"
"Sentimental Gentleman From Georgia"
"Take Me In Your Arms"
1933
"Down A Carolina Lane"
"Sophisticated Lady", Duke Ellington melody.
1934 Broadway show 'Blackbirds of 1934 (Christmas Night In Harlem)
"Emaline", Frank Perkins melody
"Hands Across The Table"
"One Morning In May"
"Stars Fell On Alabama"
"It Happens to the Best of Friends"
"Sidewalks of Cuba"
1935
"A Blues Siren, I'm 100% For You"
"Like a Bolt From the Blue"
"A Fairy Tale"
1936
"Does Your Heart Beat For Me?"
"Organ Grinder Swing"
1937
"Mr. Ghost Goes To Town"
"Sophisticated Swing"
1938
"Don't Be That Way"
"I'm In A Happy Frame of Mind"
"It's Wonderful"
"Who Blue Out the Flame?"
"My Window Faces South"
1939 worked Broadway show 'Blackbirds of 1939' (Unsuccessful)
"When a Blackbird is Blue"
"You're So Different"
"Deep Purple"
"The Lamp is Low" (Debussy "Pavanne Pour Une Princess Mort")
"Lilacs In The Rain"
"The Moon Is A Silver Dollar"
"Moonlight Serenade"
"Stairway To The Stars"
1940
Broadway Stage Show 'Earl Carroll's Vanities of 1940'
"Starlight Hour"
"Angel"
Broadway Show 'It Happens On Ice'
"The Moon Fell In the River"
1941
"Orchids For Remembrance"
"Orange Blossom Lane"
1942 "All I Need Is You"
1944 "Let Me Love You Tonight"
1948
"The Blue Skirt Waltz"
"Mademoiselle de Paree"
1950
"All My Love"
"Tzena, Tzena, Tzena"
1953 "Dream, Dream, Dream"
1955 "Heart of Paris"
1958 "Volare"
Alexander Paucker, please see Francis Chagrin
Nick Perito
Currently no information available.
Among this composer's work, are:
"Do You Remember Me", lyric Richard B. Matheson.
"If I Could Almost Read Your Mind", 'Special Material' composed just
for Perry Como's appearance in Las Vegas, NV. Words/Music credited to
Ray Charles and Nick Perito
"I'm Dreaming of Hawaii", lyric Jennifer L. Perito and Dick Williams
"I'm Gonna Love That Gal (Like She's Never Been Loved Before)", lyric and music by Frances Ash 1945
"I Wish It Could Be Christmas Forever", lyric by Richard B. Matheson
"Making Love To You", lyric by Sammy Cahn
"Sing Along With Me", lyric by Dee Williams
Frank Perkins
b. 1908, Salem, Massachusetts, d.
Overview
Composer Frank Perkins was most active during the 1920's and the 1930's. He
began working as an arranger for a music publisher, but later on in his
career, he composed songs and, still later, was a music director for some
Hollywood studios.
1934 "Emmaline", lyric by Mitchell Parrish.
1934 "Stars Fell on Alabama", Probably his biggest success. The lyric was
by Mitchell Parrish
Bernice Petkere
b. August 11, 1901, Chicago, IL. d. Jan. 7, 2000, Los Angeles, CA.
Composer/Author
Bernice Petkere, writer of popular songs, including jazz standards
"Lullaby of the Leaves" and "Close Your Eyes," died of heart failure on
Friday morning, January 7, at Queen of Angels Hospital, Hollywood, CA. She
was 98.
Famed (and wonderful) pianist Peter Mintun did the research on Bernice
Petkere, and we thank him for graciously contributing this entry.
(Sole credit to composer Pekere unless lyricist noted.)
Barcelona Goodbye, with Walter G. Samuels
By a Rippling Stream Waitin For You
Christmas Cha Cha
Close Your Eyes (1933) - Still a hit today!
Did You Mean What you said, with Joseph Young
Eyes Blue As The Skies
Half A Mile Away From Home
Happy Little Farmer
Hats Off Here Comes A Lady, with Joseph Young
It's All So New To Me, with Marty Symes
Lady I Love, with Joseph Young (1932)
Lonesome Melody, with Joseph Young
Lullaby of the Leaves, with Joseph Young (A classic of the era.)
Mile a Minute, A
My River Home, with Joseph Young
Oh Moon
Rose of the Snowland, with Joseph Young
Running Away From Everyone
Starlight Help Me Find One, with Joseph Young
Stay Out Of My Dreams, with New Washington
Tell The Truth, with Milton Ager
Wedding Waltz
Fred Phillips
Currently no information available for this composer.
1931 "Got The Bench, Got The Park", lyrics Al Lewis and Al Sherman.
Astor Piazzola
b. March 11, 1921, Mar del Plata, Argentina, d. July 4, 1992, Buenos Aires, Argentina.
Astor was the only child of Vicente Piazzola and Asunta Manetti.
Piazzola's work defies precise classification, still one can distinguish
certain main styles and/or periods such as his Orquestas Tipicas, Octet,
Quintet, Sextet, Classical, film music, and such. A good deal of Piazzola
music was for films. Until approximately 1952, he was experimenting with
big orchestral sounds for film soundtracks, but by the 1960s, his movie
music became more "Tanguistico". At that point in time, his "Milonga Triste" or "Milonga del
Angel", were qute different from historical Milongas.
Maceo Pinkard
b. 1897, Bluefield, West Virginia, d. June 21, 1962, New York, NY, USA.
Overview
Maceo was perhaps the most successful Black songwriter of the 1920's.
1925 "Sweet Georgia Brown"
1926 " 'Gimme' a Little Kiss, Will 'Ya' Huh?", with Roy Turk lyric. This
song was introduced by the Guy Lombardo band, but was a huge hit for 'Whispering Jack Smith'
1927's "Here Comes the Show Boat", From Broadway musical, 'Showboat'.
1928 "Don't Be Like That", Charles Tobias and Archie Gottler lyrics. The
Boop-boop-a-doop girl, Helen Kane, inttroduced the tune.
1930's "Them There Eyes."
Lee Pockriss
Currently no information available.
Lee wrote some material with Lyricist Carolyn Leigh. Among his songs are:
"Catch A Falling Star", Words and Music by Lee Pockriss and Paul Vance. A big hit for
vocalist Perry Como.
Lew Pollack
b. 1895, New York, NY, USA. d. 1946, Hollywood, CA, USA
Overview
This composer was most active during the 1920's and the 1930's. Among his
best known songs, are:
1927 "Charmaine", lyric Erno Rapee.
"Diane", lyric by Erno Rapee.
"Miss Annabelle Lee"
1934 "Two Cigarettes in the Dark."
Pollack is a member of the Songwriters' Hall of Fame.
Carlos Paredos
b. Feb. 16, 1925, Coimbra, Portugal, d. July 23, 2004, Lisbon, Portugal. (Myeloma and Diabetes).
Carlos Paredes, came from a succession of master musicians, and is known in idiomatic Portuguese as a casa �nbsp;"case," - someone unique,
someone who is his own man. His father, Artur Paredes, was a celebrated 'guitarrista'.
At just age 4, Carlos began playing the 12-string Portuguese guitar,
a six double-stringed instrument -played using only the right index finger
and thumb - and in the same family as the mandolin and bandurria which
emerged in the 18th century, and is commonly used for playing "Fado" music.
(Fada is Folk music which originated ca. 1820 primarily among the mixed
African and Brazilian laborers.) During the 1920s and '30s, a type of music
called "Fado de Coimbra" was most popular in Portugal.
Paredes' music, based on the roots of the mournful, pensive Fado, but with his
own particular twist, is considered a hallmark of Portuguese culture.
