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Louis Alter

b. 18 June 1902, Haverhill, Massachusetts, USA, d. 3 November 1980, NY, USA. A composer, pianist and arranger, Alter examined at the brand new Britain Conservatory of Music. In his early teenagers, he performed piano in silent-movie homes, and in the 20s offered as accompanist for the flamboyant entertainer Nora Bayes, aswell as Beatrice Lillie and Helen Morgan, amongst others. Later on in the 10 years, he contributed tracks to many Broadway musicals and revues, including A La Carte (1927), Earl Carroll Vanities Of 1928, Americana Of 1928 (‘My Kinda Like’, lyric: Jo Trent), Lovely And Low (1930, ‘Over night’, lyric: Billy Rose -Charlotte Kent), Ballyhoo (1931) and Keep Your Horses (1933). Using the arrival of talking photos, Alter shifted to Hollywood and had written some ratings and occasional amounts for movies such as for example Lord Byron Of Broadway (1929, ‘Nothin’ HOWEVER THE Blues’, lyric: Joe Goodwin), Hollywood Revue Of 1929 (‘Gotta Feelin’ For You’, Jo Trent), HAVE A Opportunity, (1933, ‘Arrive Up AND FIND OUT Me Sometime’, Arthur Swanstrom), Dizzy Dames (1935, ‘I Was Used By Surprise’, Edward Heyman), The Aged Homestead (1935, ‘Moonlight In Heaven’, Jack port Scholl), Sing, Baby, Sing (1936, ‘You Turned The Dining tables On Me’, Sidney D. Mitchell), Rainbow WITHIN THE River (1936, ‘Rainbow WITHIN THE River’, ‘You Just Live Once’, ‘A 1000 Dreams Of Like’, Paul Francis Webster), The Path FROM THE Lonesome Pine (1936, ‘A Melody THROUGH THE Sky’ [Oscar nomination], ‘Twilight WITHIN THE Path’, Mitchell), Make A Wish (1937, ‘Music IN MY OWN Center’, ‘My Campfire Dreams’, ‘Make A Wish’, Webster-Oscar Straus; ‘Aged Guy Rip’, Webster-Alter) and Vogues Of 1938 (‘Switch On The Crimson Heat (Burn off The Blues Away)’, Webster; ‘Ruler Of Jam’, Alter). During Globe Battle II Alter offered as an Entertainments Official for US Atmosphere Force bases, time for create the music for film tracks such as for example ‘Dolores’ (Frank Loesser, Oscar nomination, NEVADA Evenings, 1941), ‘Like Me As I Am’ (Captured In The Draft, 1941), ‘If I HAD DEVELOPED A Wishing Band’ (Breakfast time In Hollywood, 1946) and ‘The Blues Are Brewin’’ and ‘Perform GUESS WHAT HAPPENS THIS MEANS To Miss New Orleans?’ (Eddie De Lange, Fresh Orleans, 1947). One of is own last movie tasks was SURVIVING IN A Big Method (1947), where Gene Kelly, followed by small puppy, did a enchanting dance to improve and Heyman’s ‘Fido And Me’. Among Alter’s additional compositions had been ‘Au Revoir HOWEVER, NOT Goodbye’ (Raymond Klages), ‘I’ve Got Fine sand In My Shoes and boots’ (1934), ‘Manhattan Serenade’ (1928, Harold Adamson, and revived by Harry Adam, Tommy Dorsey and Jimmy Dorsey in 1942), ‘Circus’ (Bob Russell), and ‘Nina Hardly ever Knew’ (1952, Milton Drake), a stunning ballad that received a fantastic reading from Vic Damone. Alter also composed several instrumental parts, including ‘Manhattan Masquerade’, ‘Manhattan Moonlight’, ‘American Serenade’ and ‘Aspect Road In Gotham’.

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