Maurice Abrahams
b. 1883, Russia, d. April 13, 1931, New York, NY, USA.
Maurice Abrahams was known as "Maurie Abrams" to his friends so 'Abrahams' may have been a stagename. He married the wonderful vaudevillian Belle Baker (her second husband). (A 33RPM LP "A Pair of Red Hot Mamas" - 'Take Two' #208, possibly on CD too - has Baker singing Abrahams's "I'm Walking with the Moonbeams" (1929), with composer credit given also to Gordon and Rich). It's a nice bouncy four-square song, a bit old fashioned for 1929 (sounds more like 1925 - one strain is reminiscent of "If You Knew Suzie") and probably not good enough to have been a hit.
The Database thanks Mr. Anthony Ponaras for kindly contributing this information on Maurice Abrahams.

Among this composers songs are:
"At the Cotton Pickers Ball"
"Everybody Loves My Girl"
1913 "He'd Have To Get Out And Get Under"celebrating the invention of the Automobile
"HighHighHighUp In The Hills"
"Hitchy Koo"
"I Always Think I'm Up In Heaven"
"I'll Open The Door and Close The Door"
"I'm Walking With Moonbeams Talking To The Stars"
"I'll Still Go On Wanting You"
"Just YouJust Meand Love"
"OhWhat a Night"
"Pray For SunshineBut Always Carry An Umbrella"
"Ragtime Cowboy Joe"This "novelty" was possibly his biggest hit.
"Ruff Johnson's Harmony Band"
"Take Everything But Your Love"
"When The Grown Up Ladies Act Like Babies I've Known"

   Zequinha de Abreu
b. September 191880Santa Rita do Passa QuatroSP (anta Rita do Passa Quatro)State of Sao PauloBrazild. January 221935Sao PauloBrazil. (Note: All Brazilian websites give this date of demiseothers incorrectly state "November 22")
né: José Gomes de Abreu
This Brazillian composer was well known in his own homeland, but is listed here due to his song "Tico Tico no Fubá". This Samba dance tune became a big bit in the U.S.A.during the big bands eraunder the name of "Tico Tico".

Zequinha was the first of the 8 children born to pharmacist José Alacrino Ramiro de Abreu and his wife Justina Gomes Litão. At age 5his musical abilities were already apparent. At age 10he was playing the requinta (wooden flute)Chromatic flute and clarinet in a band and while also composing his first compositions.

From 1891 to 1893he studied with the priests at the Colégio São Luís de Ituand then from 1894 to 1896at the Episcopal Seminary of São Paulo. His main study was musiceven though his mother hoped he would become a priestwhile his father hoped he would become a doctor. At just age 17he formed his own orchestrabeginning a 20 year career playing for saraus (private all-night jam sessions)ballsanniversariesmarriagesserestas (Choral groups) and accompanying silent films.

In 1899at only 18 years of age, he married 14 year old Durvalina Pires Brasil, who was living in the 'Distrito de Santa Cruz da Estrela' (now Jacerandi near the Santa Rita area). There the couple lived for some months with Zequinha running a pharmacy and his wife teaching in a primary education classroom. After returning home, Zequinha worked at such "day jobs" as secretary of the City council and writer in the State Tax collector's office. It was necessary to find this sort of steady work and income because his family continued to grow. They had 8 children whose given names all started with D: Durval, Dermeval, Dinorah, Doríval, Diva and Dirce.

In September 1920, after the death of his father, the family relocated to São Paulo, where he continued to play in the same types of venues as clubs, cabarets, dances, corporate events, parties, and such well known venues as the 'Bar Viaduto' and the 'Confeitaria Seleta'. His piano playing and music was always applauded.

One of the venues at which he played was the 'Casa Beethoven' where his musical and composing talents attracted many customers. In 1924, Vicente Vitale and his brothers formed a musical publishing company. One evening, while visiting the Casa Beethoven, Vitale heard Zequinha playing, and asked him to compose a song for his publishing company. The song he wrote was the waltz "Branca de Zequinha", which met with such extraordinary success that Vitale signed Zequinha to an exclusive contract. (Vitale later said it was his great beginning as a music publisher.) Recognizing his talent, Vitale asked for more. Zequinha obliged with a tune called "Tico Tico no Fubá" a tune which some 25 years or so later would become a huge hit in the United States during the American Big Bands era. Still more successes followed and Zequinha was signed to an exclusive contract with the obligation to deliver new music each month to the publishing company. It may well be that Zequinha was the era's only composer with a fixed monthly income. Zequinha would continue to work with Vitale until Vitale's demise in Sept. 19, 1980, at age 77.

In his later years, he would sit at the piano and improvise songs hour after hour while sipping on a glass of beer. He often gave piano lessons to youngsters. On his demise, his good friend the poet and writer Hermes Vieira (who used the pseudonym of Naro Demóstenes) recollected" A modest and good man- modest to the extreme. He never had a contemptuous word for anyone He didn't speak much, but always smiled. He could compose music quickly and with ease."

   Irving Actman
Overview
Composer Irving Actman wrote the scoreand Frank Loesser wrote the lyricsfor the 1936 Broadway musical `The Illustrator's Show'which unfortunately never opened. see Loesser.

   Clifford "Cliff" Adams
b. August 21, 1923, Southwark, London, England, UK, d. Oct. 23, 2001, England, UK.
Currently no information on this composer.
"Fools And Lovers", - composed February 2 & 3, 1965

   Lee Adams
b. August 14, 1924, , Mansfield, Ohio, USA
After receiving his BA from Ohio State University, he earned his M.Sc.J at Columbia University's Graduate School of Journalism. He began his musical career writing summer-camp shows at Green Mansions before finding work writing for "On-Broadway", and "Off-Broadway" revues. His work on "Off-Broadway" shows includes the "The Littlest Revue" and "Shoestring '57" revues For "On-Broadway" shows, he composed for the "Golden Boy", "All American", and "It's a Bird ... It's a Plane ... It's Superman" revues.

While perhaps best known for his songs for "Bye Bye Birdie", he also composed such well known tunes as:
"You've Got Possibilities"
"Kids"
"Put On a Happy Face"
"The Telephone Hour"
"One Boy"
"Nightlife"
"A Lot of Livin' To Do"
"Yes I Can"
"The Arts"
"How Lovely to Be a Woman"
"Once Upon a Time"
"What A Country"
"Night Life"
"Night Song"
"I Want to Be With You"
"Lorna's Here"
"While The City Sleeps"

   Stanley Adams
b. August 141914 d. Jan. 27, 1994
Currently no information available.
Lyricist Stanley Adams collaborated with many composers. One of his earliest jobs was writing lyrics for the Connee's Inn revues. (HarlemN.Y.) Some of his work includes:
"Yester Thoughts"music Victor Herbert
"Wacky Dust"music Oscar Levant
"Litle Old Lady"music Hoagy Carmichael
"A Heart That's True (There are such things)"music Abel Baer.
A big hit for Tommy Dorsey Orch.Frank Sinatra and Pied Pipers vocs.
"After Dinner Speech"music by Oscar Levant.
"What A Difference A Day Made"
"Take It From Me"music Fats Waller
1932 "In The Dim Dim Dawning"co-lyric Al Goodheart; Al Hoffman tune.

   Harold Adamson
b. Dec. 10, 1906, Greenville, NJ, USA. d. Aug. 17, 1980, Beverly Hills, CA, USA.
While a student at the Univ. of Kansashe performed as an actor in summer stock. Before his college day she had tried writing some verse. After transferring to Harvard University he continued acting with roles in the Hasty Pudding Club shows. Shortly after graduating from Harvard, Harold had the good luck of having one of his songs "Time on my Hands," placed into the 1930 Ziegfeld production of Smiles. He had written the lyrics in collaboration with another lyricist, Mack Gordon. He also produced some material for the 1930 version of Earl Carroll's Vanities. In 1933, he was signed by MGM.

Adamson's most famous lyrics include:
1930 "Time on My Hands," from 'Smiles'; co-written with Mack Gordon and Vincent Youmans
1931 "Say The Word"music by Burton Lane
1932 "Here's Hoping"music by J. Fred Coots
1934 "Winter Wonderland"
1933 "Everything I Have Is Yours," from the movie 'Dancing Lady'
1935 From Film 'Reckless'Starring Jean Harlow and Cary Grant.
     "Everything's Been Done Before"co-written by Harold Adamson, Jack King and Edwin Knopf music.
1935 "Tender is The Night"music by Walter Donaldson.
1936 "Did I Remember?"from the movie Suzy; Grant and Harlow stars.
1936 From the Film 'Banjo On My Knee'
     "Where The Lazy River Goes By"Jimmy McHugh music.
     "There's Something In The Air"Jimmy McHugh Music
1940 "The Woodpecker's Song";
1943 World War II inspired "Comin' In on a Wing and a Prayer";
1944
     "A Lovely Way to Spend an Evening"
     "I Couldn't Sleep a Wink Last Night," from the movie 'Higher and Higher'
1948 "It's a Most Unusual Day," from the movie 'A Date with Judy'
1956 "Around the World" the theme from the film 'Around the World in 80 Days';
1957 movie theme "An Affair to Remember."

Adamson is a member of the Songwriters' Hall of Fame.

   Larry Adler
né: Lawrence Cecil Adler
b. February 101914BaltimoreMarylandUSA
Though mainly remembered as a Virtuoso Harmonica playerhe did compose some scores for British films including:
Genevieve (1953)
A Cry from the Streets (1959)
The Hellions (1962)
The Great Chase (1963)
The Hook (1963)
A High Wind in Jamaica (1965)
King and Country (1965).

   Richard Adler
b. Aug. 31921New YorkNYUSA.
Overview
Lyricist Richard Adler is best recalled as part of the team of composer Jerold Ross and Adler. Most of their efforts were on Broadway shows.

Adler attended Columbia Grammar School New York Cityand then graduated from Univ. of North Carolina in 1943. During WW2, he spent 3 years in US Navy on a PC Boat. In 1950, Frank Loesser introduced him to Jerold Ross. It was a very successful collaboration. They first worked on a Radio Show - 'Stop the Music'. Next the did some specialty numbers for Jimmy Durante; Eddie Fisher and Marlene Dietrich. Their first B'way show hit was 'Rags to Riches'followed by 'The Pajama Game' (1954) with songs like "Hey There", and "Hernando's Hideaway". In 1955 'Damm Yankees' with "Heart" and "whatever Lola Wants".

On Nov. 11, 1955, Ross died of Chronic Bronchiectasis before his 30th birthday. Since then Adler has worked alone. in 1958 "Everybody Loves a Lover". In Jan. 3, 1958, he maried Sally Ann Howes, who had succeeded Julie Andrews in the Broadway show 'My Fair Lady'. He has has also been busy writing jingles for Kent and Marlboro cigarettes.

   Richard Addinsell
b. January 13, 1904, London, UK d. November 14, 1977
Addinsell is probably best known for just one of his works, the "Warsaw Concerto", which he composed for a WW2 propaganda film 'Dangerous Moonlight'. On the film's soundtrack the piece -orchestrated by Roy Douglas- was played by Louis Kentner at the pianoand backed by the London Symphony Orchestra conducted by Muir Mathieson. Still, while primarily recalled for this work, he did indeed do some outstanding work on many other films, some of which were hugely successful commercially.

Among the other films for which he supplied scores or musicwere:
Amateur Gentleman (1936 for Korda)
Fire Over England (1937)
South Riding (1937)
Goodbye Mr Chips (1939)
Gaslight (1940)
The Lion Has Wings (1940)
Men of the Lightship (1940)
Love on the Dole (1941)
Suicide Squadron (1941)
The Avengers (1942)
Blithe Spirit (1945)
A Diary for Timothy (1945)
Passionate Friends (1949)
Under Capricorn (1949)
The Black Rose (1950)
A Christmas Carol (1950 - aka Scrooge)
Highly Dangerous (1951)
Tom Brown's School Days (1951)
Encore (1952)
Sea Devils (1953)
Beau Brummel (1954)
Out of the Clouds (1957)
The Prince and the Showgirl (1957)
A Tale of Two Cities (1958)
Loss of Innocence (1961)
Macbeth (1961)
The Roman Spring of Mrs Stone (1961)
Waltz of the Toreadors (1962)
Life at the Top (1965 - his last film).

   John Addison
b. 1920, Surrey, UK.
This English composer had been attending the Royal College of Music when picked for National Service in the Armed Forces. While in the Armyhe became good friends with Roy Boulting. After his military serviceAddison returned to his studies at the RCM. During 1951-'58, Addison also served on the RCM staff. In 1955, Addison, speaking with Carl Davis during a BBC radio interview, recounted his introduction to the world of film music. He mentioned how that while still a Private in the British Army, he had met and become good friends with composer Roy Boultinga, nd how they had kept in touch even after the war's end. At a later date, Boulting, after attending a concert where one of Addison's works was performed, sensed that Addison might be good at film music. It was Boulting who introduced him to the movie studios by having him play piano for the actors--getting them into the proper mood for a given scene. Addison said that it was this activity that got him 'hooked' on film music. Subsequently, Addison began to do some more serious composing for the films.

In 1975he re-located to Los Angeles, CA. USA. He has since provided the music for over 60 films, both British and American, and currently (2001) still resides in Los Angeles, CA, USA. Among the many scores on which he has worked are:
Seven Days to Noon (1950)
Pool of London (1951)
High Treason 1952)
The Hour of Thirteen (1952)
The Man Between (1953)
Terror on a Train (1953)
The Black Knight (1954)
High and Dry (1954)
The Paratrooper (1954)
That Lady (1955)
The Cockleshell Heroes (1956)
The Light Touch (1955)
Make Me An Offer (1956)
Private's Progress (1956)
Three Men in a Boat (1956)
Reach for the Sky (1957)
Lucky Jim (1958)
I Was Monty's Double (1959)
Look Back in Anger (1959)
The Entertainer (1959)
A French Mistress (1960)
The Loneliness of the Long Distance Runner (1962)
A Taste of Honey (1962)
Tom Jones (1963)
The Loved One (1963)
The Girl with the Green Eyes (1964)
Guns at Batasi (1964)
The Amorous Adventures of Moll Flanders (1965)
A Fine Madness (1966)
I Was Happy Here (1966)
The Torn Curtain (1966)
The Honey Pot (1967)
Smashing Time (1967)
The Charge of the Light Brigade (1968)
Brotherly Love (1970 orig. offered to Malcolm Arnold who declined)
Start the Revolution Without Me (1970)
Mr Forbrush and the Penguins (1972)
Sleuth (1972)
The Seven Per Cent Solution (1976). A Sherlock Holmes Mystery

   Milton Ager
b. Oct. 6, 1893, Chicago, IL, USA. d. May 6, 1979, Los Angeles, CA, USA.
Overview
This composer had hit songs from 1918 through 1938. He began as a pianist for the silent movie theaters and went on to become a vaudevillian and finally wound up writing hit songs for the Hollywood studios.

Milton was the 6th of 9 kids. Around 1900, his sister bought a piano and with encouragement from his Mother, an amateur soprano, Ager learned by trial and error. In 1910, after 3 years at McKinley High School (NYC), he abandoned formal education. That same year he began his career as a movie house intermission pianist.

A little later, he went to Chicago and did some song plugging. He briefly accompananied several performers on the Orpheum Vaudeville Circuit. To NYC in 1913 where he worked for Publisher 'Waterson, Berlin and Snyder'. During WW1, he worked in the US Army's Morale Div. Fort Greenleaf, GA.

1921"Nobody's Baby"lyrics Benny Davis and Lester Santly. (Milton's first big hit song.)
1922"Who Cares". In this same yearhe founded the publishing house of AgerYellen and Bornstein. Also worte for Al Jolson's Wintergarden Show 'Bombo'.

Between 1922 to 1930 he wrote 1922 "Mama Goes Where Papa Goes"A Hit song for Sophie Tucker'The Last of the Red Hot Mamas!'
1922 "Lovin' Sam"
1924 "Hard-Hearted Hannah" and "I Wonder What's Become of Sally"
1927 "Ain't She Sweet?"
1929 "Happy Days Are Here Again"

He was one of the first composers called to Hollywood. With Jack Yellenhe wrote:
1930 for the Paul Whiteman picture 'King of Jazz'
"Happy Feet"
"A Bench In The Park"
"Happy Days are Here Again"which became the theme song for FDR's first inauguration in 1932 and has been the Democratic Party's theme ever since.
1933's "If I Didn't Care."

Ager was elected to membership in the Songwriters' Hall of Fame. He died in 1979, at age 86.

   Alberto Hilarion Acuna b: Oct. 21, 1893, Zamora (prov. of Buenos Aires) Argentina. d: Dec. 6, 1975
Composer/guitar/vocals
In 1924 he formed the Ruiz-Acu� duetin 1931 Coin-Diazand later Acu�-Macieland in 1934 returned to his original duet- Ruiz-Acu�.

Acuna composed the Tangos:
      "Colorao Colorao",
      "De Salto y Carta"
      "Tenemos que Abrirnos".

Beside his TangosAcuno also composed Sambas, Waltzes, "Pop" Songs etc.

   Thomas Montgomery Adair
b. June 15, 1913
Currently no information.
This composer penned well over 300 songs, stilll he is little recalled today. Among his compositions are:
      "Let's Get Away From It All", co-composed with Matt Dennis.
      "Everything Happens To Me", co-composed with Matt Dennis.
      "In The Blue of Evening", co-composed with Alfonso D'Artega, -a bit hit for the Tommy Dorsey orch.
            with Frank Sinatra singing.
      "Once Around the Park", co-composed with Gordon Jenkins.
      "Violets for Your Furs" co-composed with Matt Dennis.
      "There's No You". co-composed with Harold S. Hopper. A hit for Sarah Vaughn, Frank Sinatra, and Mel Torme
            and many others (including Louis Armstrong).
      "Night After Night"co-composed with Ernestina Lecuona
And maybe 290 or so other songs.

eden ahbez, (spelled: small e, small a, and pronounced 'ah-bay')
b. April 15, 1908, New York (Brooklyn), NY, USA, d. March 4, 1995, Los Angeles, CA, USA. Age: 87
né: Alexander Aberle
CAUTION: Do not confuse with another composerLouis T. Hardin, who is perhaps better known as "Moondog".
ahbez has been described as a mysterious pre-beatnik, pre-hippy, fruit juice drinking, long haired veggie person. Often called 'America's First Hippy', his early life is unclear. One version has him born in 1908, while another version has bim born after World War I to a large and poverty-stricken family in Brooklyn, New York. He and his twin sister were placed in an orphanage, and at age seven, he was adopted by a Kansas family.

As a young adult, he left home and began wandering across the USA, finally ending up in Hollywood. Dressing in flowing robes with a long beard and hair and wearing only sandals, he soon became known as 'The Yogi' or 'The Hermit'. He made his 'home' camping out below the first "L" in the 'Hollywood' sign in the hills above Los Angeles. He claimed to live on three dollars a week, sleeping outdoors with his family, eating only vegetables, fruits, and nuts. Apparently, he was also studying Oriental mysticism. He refused to use capital letters to spell his name.

In 1948, his friend and fellow 'hippie' and health fitness guru, Robert "Gypsy Boots" Bootzin (see below) inspired him to write the song "Nature Boy". It became by far and away, his greatest hit when it was subsequently recorded by Nat 'King' Cole. (The song reached No. 1 on the Pop charts.) Some Classical musicologists have noted the similarity between "Nature Boy"and Antonin Dvorak's "Quartet in E flat major Op.51: II Dumka". However, other listeners immediately recognized "Nature Boy" as a copy of the yiddish song "Schwieg Mein Herz" ("Be Still My Heart", a waltz-Cole's version was in rubato form). The publishers of the Yiddish song brought a legal action against ahbez, and the two sides reached an out of court settlement. Although the song brought him a large income from the royalties, ahbez refused to touch the money and continued to live on the streets.

In the mid-1950s, besides continuing to compose and sometimes singing on rock & roll novelty records, he also recorded with famed singer Herb Jeffries. He continued to write music and even recorded some himself. His 1960 LP Eden's Island, (with his picture on the cover) was his first and rather weird album. In it, he managed to include some 'beatnik' poetry with 'exotica' style music. He also recorded with 'The Beach Boys' and in 1966, was photographed with Brian Wilson while in a recording studio.

In 1995it all ended for the 'Nature Boy' when he was hit by a speeding automobile leaving as his legacy a rather bizarre cross of 'exotica', Beat-era lyrics and 1950s Pop music.

SIDENOTE on Robert "Gypsy Boots" Bootzin:
b. August 19, 1914, San Francisco, CA, USA. d. August 8, 2004, Camarillo, CA, USA (natural causes). Age: 89.
Long before the current obsession with organic foods, yoga and exercise "Gypsy Boots" had already defined the term "living close to nature". Born to Jewish immigrant parents, "Boots" very early on formed a philosophy of clean living exercise and healthy eating. He later expressed those beliefs in his books "Barefeet and Good Things to Eat" and "The Gypsy in Me".

In the 1940s, Bootzin, sporting a shaggy beard and long hair and often shirtless and shoeless, was greatly inspired by the German "Naturmensch" movement. He gathered together a "tribe" of fellow 'bohemians' whose "home" became the land in Tahquitz Canyon (near Palm SpringsCA)where they would sleep in caves and trees and bathe in waterfalls. It was Bootzin's lifestyle that inspired eden ahbeza fellow "tribesman"to compose the song "Nature Boy,"

In the early 1950s"Boots" appeared on Groucho Marx's radio and television program "You Bet Your Life". Even composer/actor Steve Allen was taken by his beliefs and "Boots" made 25 appearances on "The Steve Allen Show" in the early 1960s. In 1967"Boots" also appeared in "Mondo Hollywood".

Throughout his life- he worked variously as an entertainer, author, hay baler, and "health" restaurateur. "Gypsy Boots" never shed his long hair and thick beard and never lost his passion for "natural" foods and a near-Spartan existence. A lifelong vegetarianwith a very positive attitudehe was fond of saying "You can eat all the best food in the worldbut if you have a negative attitude it's not going to do you any good." He was age 89 upon his demise and was survived by sons Dan Bootzin of Los Angeles, CA and Alex Bootzin of Pacifica, CA; three grandchildren; and a sister.

   Anselmo Aieta
b. November 5,1896Buenos AiresArgentina. d. September 251964Buenos AiresArgentina.
né: Anselmo Alfredo Aieta. -- (Nicknames: Ricardo Aieta and Pepe Soles)
composer/leader/Bandoneonist
In 1912, while still a teenager, Aieta composed his first Tango: "La Primera Sin Tocar" ("First Without Touching"); well over a 100 more Tangos would follow- all major hits in Argentina. While still in his youth, he had been strongly influenced by the well-known Tano Genaro. Aieta began his career playing in small local cafes but soon found work with such well known composers and bandleaders as Eduardo Arolas, Eduardo Monelos, Agustín Bardi, Virgilio R. Carmona, and other musicians Aieta then joined Francisco Canaro's Orchestra, remaining with Canaro until 1922. He then began to lead his own orchestra, performing on radio and in such well known cafés as "El Nacional", "Germinal", and "Guarany", among many others.

One interesting sidelight on Aieta's career was reported in the June 221954 issue of the Argentine magazine "Ahora" (No. 2192) which carried an interview with Aieta. At one point the reporter asked Aieta how he was acquainted with Carlos Gardel, and he replied "I was playing at the Casino Pigall when a gentleman whom I didn't know sent me a message from his table. I had recently played the Tango "El Huérfano" which I had composed and when I approached him, he invited me to share his table and introduced himself by saying: "I am Carlos Gardel, my friend, and I would be interested in singing your tango which I have enjoyed very much. If you come tomorrow to Glücksmann's (owner of the Odeon label recording studio) I will record it immediately". As you may surmise, besides the enormous happiness of the moment, I was amazed to realize that an artist as famous as Carlos Gardel could ask for one of my compositions with such simplicity. That was my first encounter with the great interpreter." (In 1925, Gluksmann and the Odeon label recorded one of Anselmo Aieta's Tangos "Tus Besos Fueron Míos". Listen now to a 1929 American recording by Los Floridians, with vocal by José Santos (Vocalion A 8117) of "Tus Besos Fueron Míos" ("Your Kisses Were Mine.") (Virtually every single Argentine Tango artist was recorded by Max Gluksmann's Odeon label. Visitors to this page may also wish to peruse our page on the "Argentine Tango", for more information on Max Gluksmann and the Tango. )

Incidentally, Gardel would go on to sing many more of Aieta'a beautiful Tangos, including such tunes as "Alma en Pena", "Bajo Belgrano", "Carnaval", "El huérfano", "La Violetera", "Mentirosa", "Palomita Blanca", "Primero Campaneala", "Príncipe", "Prisionero", "¡Qué Fenómeno!", "Siga el Corso", "Tras Cartón", "Trianera" (a Paso Doble), "¡Viva la Patria!", and "Tan Grande y Tan Zonzo".

Most his songs had lyrics by one of the best Tango poets, Francisco García Jiménezbut, and among the over 100 songs (in various rhythms) that Aieta composed are:"
"A cara limpia"
"A la criolla"
"Alegría"
"Aquellos ojos"
"Bajo tierra"
"Caretudo"
"¡Chau... Ingrata!"
"De corte antiguo"
"Don Luis Alberto"
"Entre sueños"
"Estampa tanguera"
"Estoy borracha"
"La chiflada"
"La santita"
"Mariposita"
"Muchachitas de Chiclana"
"Pobre cotorro"
"Que lo larguen"
"Se fue Taborda",
"Suerte loca"
"Ya estamos iguales"

In 1937, Aieta took part in the movie "Los Locos Del 4º Piso". Besides his original work for Max Gluksmann's Odeon label, Aieta also recorded for Electra, Columbia, and at the end of his career for TK. Among the other great lyricists and musicians with whom Aieta collaborated are Enrique Dizeo, Santiago Adamini, Ginés Miralles, Rafael Tuegols, Juan Polito, Antonio Radicci, and Luis Rubinstein.