Caesar became increasingly disaffected from the kind of music to which most Americans were listening in the 1960's. He complained that:
"good lyrics and tunes are no longer wanted," and that "we have a form of musical juvenile delinquency abetted by adult delinquency."

When Irving died, at age 101 years, he was survived by his wife Christina A. Ballesteros.

   Sammy Cahn
b. June 18, 1913, New York, N.Y. USA. d. Jan. 15, 1993, Los Angeles, CA, USA.
Overview.
Lyricist Sammy Cahn's principal collaborators were composers Jule Styne and Jimmy Van Heusen, but he worked with some other known tunesmiths such as Nicholas Brodszky; Alfred Newman; Victor Young and George Barrie. Over a 33 year period, he had no less than 26 tunes with his lyrics nominated for Academy Awards.

Sammy's parents had emigrated from Galicia, Poland, and Sammy grew up on New York City's Lower East Side. His mother encouraged her son to study the violin, and the youth played with some local bands at Bar Mitzvahs and such events. A little later, he began working in pit orchestras of Bowery burlesque theaters. When he was just 16 years old, he wrote his first song, "Like Niagara Falls, I'm Falling For You", to the music of his fellow orchestra member, Saul Chaplin. The two men then formed a songwriting team, with their first song being "Shake Your Head From Side To Side".

In the 1930's, they wrote special material for nightclub acts and for dance bands. In 1935, Cahn had his first big hit lyric when the Jimmy Lunceford Band recorded his "Rhythm Is Our Business". In 1936, Cahn's lyrics again struck gold with the Andy Kirk Orchestra's recording of "Until The Real Thing Comes Along".

When he was 24 years old, he and composer Saul Chaplin formed a band. In that same year, 1937, he and Chaplin adapted a Jewish song called "Bei Mir Bist Du Schon", which catapulted the Andrews Sisters to national fame.

1937 "Bei Mir Bist Du Shoen";
      He followed this hit with another hit song based on a
      Jewish theme,
      "Joseph, Joseph (Make Your Mind Up)"

These songs led to an offer from from the Warner Brothers studios
in Hollywood, where he wrote for one film, 'Ladies Must Live', 1940.
After this, he worked for Universal and then Columbia Pictures, on
such films as:
  Time Out For Rhythm
  Two Latins From Manhattan
  Honolulu Lu
  Argentine Nights.

In 1942, he began working with composer Jule Styne.

1942 "I've Heard That Song Before". Music by J. Styne. From the
      Republic Pictures film, 'Youth On Parade'.
1944 "I'll Walk Alone," Universal Films 'Follow The Boys'
     "I Should Care"
     "Saturday Night Is the Loneliest Night of the Week"
     "There Goes That Song Again"
     "Come Out, Come Out, Wherever You Are"
1945 "It's Been a Long, Long Time"
     "Day by Day"
     "Let It Snow, Let It Snow, Let It Snow"
     "I Fall In Love Too Easily"
     "Anywhere"
1946 "The Things We Did Last Summer"
     "Five Minutes More"
1948 "It's Magic." From film 'Romance On The High Seas'.

The most famous Cahn lyrics from the fiffies through the mid-sixties were
1950 "Be My Love", film 'Toast of New Orleans'. Mario Lanza voc.
1952 "Because You're Mine"

In 1953, he became a Hollywood Mogul, when he produced '3 Sailors and
a Girl' for the Warner Brothers studios.

1954 "Tbree Coins in a Fountain" Academy Award winner, Music J. Styne
     "Teach Me Tonight";

In 1954 composer Jule Styne left Hollywood for the New York stage,
and Sammy began collaborating with Jimmy Van Heusen. This was to be 
Cahn's last major collaboration. The new team won 3 Academy Awards 
in just eight years.

1955 "Love and Marriage"
     "I'll Never Stop Loving You"
     "(Love is) The Tender Trap"
1956 "Written on the Wind"
1957 "All the Way"Academy Award winner, film 'The Joker is Wild'
1958 "To Love and Be Loved", a big hit for Nat 'King' Cole.
1959 "High Hopes" Academy Award winner, film 'Hole in the Head'
1960 "The Second Time Around"
1961 "Pocket Full of Miracles"
1962 "Call Me Irresponsible" Academy Award winner from the film
     'Papa's Delicate Condition'
1964 "My Kind of Town." A Sinatra hit record.
     "Where Has Love Gone"
1967 "Thoroughly Modern Millie" A Julie Andrews vocal hit.
1968 "Star!"
1973 "All That Love Went to Waste"
1974 Sammy's autobiography 'I Should Care' was published.
1975 "Now That We're In Love"

Sammy is a member of the Songwriter's Hall of Fame. He died in New York City in 1995.

   Anne Caldwell
b. Aug. 30, 1867, Boston, MA, USA. d. Oct. 22, 1936, Beverly Hills, CA, USA.
né: Anne Caldwell O'Dea
Overview.
One of only about four females active during the 1920's, Anne penned the lyrics for many Broadway musicals between the years of 1907 and 1928. She was most active in the 1920's when she worked on many shows including:

      1907  The Top o' th' World
      1910  The Nest Egg
      1912  The Lady of the Slipper
      1914  Chin Chin
      1919  The Lady in Red
      1920  Hitchy-Koo
      1920  Night Boat, with music by Jerome Kern
      1920  Tip Top, with music by Jerome Kern
      1924  The Magnolia Lady
      1926  Crisscross
      1926  The City Chap
      1926  Oh, Please, working with Vincent Youmans
      1927  Take the Air
      1928  Three Cheers, working with composer Raymond Hubbell

Caldwell's success was basically for her 'book' writing rather than her lyrics. Her songs were never very popular due to their being so closely tied to the context of the specific show. However, her 1921 tune "Ka-lu-a", (767MB Jerome Kern Music with Anne Caldwell lyric) did achieve national fame. This tune was composed after another tune, -"Dardanella". Kern was sued (and lost) for plagiarizing the bass line of "Dardanella". He was not accused of plagiarizing the melody (it was quite different) - they sued only because they claimed the bass ostinato was the same. Incidentally, some 40 years later, in 1962, C&W singer Marty Robbins released a single with "Ka-lu-a", backed with "Hawaii's Calling Me"

She is a member of the Songwriter's Hall of Fame.

   John Cale
b. March 9, 1940, Crynant, West Glamorgan, Wales, UK
Currently no information available.
Worked with the Velvet Underground where he played violin and bass. Cale is also known for producing The Stooges' first album (featuring Iggy Pop). as well as producing Siouxsie & the Banshees' last album.
He has worked both as a Composer and an actor and among the films for which he composed (and acted in some) are:
Beautiful Mistake (2000)
Abschied - Brechts Letzter Sommer (2000)
Saint-Cyr (2000) .. aka King's Daughters, The (2000) (International: English title)
Love me (2000)
American Psycho (2000)
Vent de la nuit, Le (1999. aka Night Wind -- the Hong Kong: English title)
Somewhere in the City (1998)
House of America (1997)
Rhinoceros Hunting In Budapest (1996)
Basquiat (1996. aka Build a Fort, Set It on Fire (1996)
I Shot Andy Warhol (1996) (For which we are all eternally grateful. ---Ed.)
Ant�tida (1995)
N'oublie pas que tu vas mourir (1995 aka Don't Forget You're Going to Die )
Naissance de l'amour, La (1993 aka: Birth of Love, The )
Paris s'Tveille (1991. aka: Paris Awakens and as Contro il Destino in Italy.)
Something Wild (1986)
Who Am I This Time? (1981. For a TV show)
Caged Heat (1974. aka Caged Females and as Renegade Girls )
Heat (1972. aka Andy Warhol's Heat)

   Calexico
Currently No Information Available.
He has composed for two films.
L'Amour, l'argent, l'amour (2000)
Committed (2000)

   James Campbell
Overview.
James Campbell formed a team with fellow Briton Reginald Connelly, and together this team of British lyricists wrote some popular songs that managed to gain great popularity in the United States. Campbell and Connelly usually collaborated with other composers.

1931
"Goodnight, Sweetheart", Music Ray Noble. For the Earl Carroll Vanities 1931 edition. Rudy Vallee sang it.
1933
"Try a Little Tenderness", music Harry M. Woods

   Frankie Carle
b. 1903, Providence, Rhode Island, d.
né: Francis Nunzio Carlone
See the Frankie Carle Orchestra listings in the American Database.
Overview.
Carle is recalled today mainly as a bandleader and pianist. His band's theme song, 1939's "Sunrise Serenade," is probably his best-known composition, but 1946's "Oh, What It Seemed to Be" also gained great popularity.

   John Cameron
Currently No Information on this British Composer.
He contributed some music for the 1980 film The Mirror Crack'd.

   Elliot James Carpenter
b: 1894, Philadelphia, PA, USA. d: 1982
Curiously, one of Carpenter's great moments is unknown to most of the world. In the film "Casablanca" (starring Ingrid Bergman and Humphrey Bogart), actor Dooley Wilson seemingly played the piano for the song "As Time Goes By". In reality, it was Carpenter's playing that was dubbed onto the film's sound track.

Pianist, composer, lyricist, arranger, conductor, and song stylist, Carpenter's career spanned most of the twentieth century. He first studied Music at the Temple School of Music in Philadelphia, and in the 1920's he continued studies in France, while also touring and performing with the James Reese Europe Orchestra. Carpenter also led his own band, 'The Red Devils', which toured Europe in the late 1920s under the management of the Clef Club Singers and Players. (In 1910, famed bandleader James Reese Europe was one of the founders of a Black organization calling itself, the Clef Club. The club's musicians gave their first public performance on May 27, 1910, at the Manhattan Casino, in Harlem. Originally a private social group, The Clef Club soon developed into a combination of Art Society, Club, Booking Office, and even acted as a sort of Union for Black Performers. Just two years later, on May 2, 1912, Clef Club acts performed at New York's famed Carnegie Hall. Later, Europe led a club band on a European tour (that, as mentioned, also included Carpenter). In later years, Europe led musicians for annual concerts of the Negro Symphony Orchestra, in Carnegie Hall.)

For the 1938 film "Spirit of Youth", he collaborated with Clarence Muse, who also appeared in the film along with famed boxer Joe Louis, actor Mantan Moreland, and others. His 1938 arrangement for the Chicago, IL, production of the Gilbert and Sullivan operetta The Mikado, was called "The Swing Mikado", and featured an all-black cast. In 1939, a production called The Hot Mikado, starred Bill "Bojangles" Robinson "as a tap-dancing, bowler-hatted Mikado" (the production was revived in London in 1995.

Elliot also performed in films, he appeared (uncredited) as the character 'Henry' in the 1940 film "Strike Up The Band"; as himself in the 1940 film "Broken Strings" (for which film he was also the music arranger); again as himself in the 1951 film, "Yes Sir, Mr. Bones", and as mentioned, he was the uncredited pianist in the 1942 film Casablanca.

1942, a Carpenter and Langston Hughes collaboration produced the song "America's Young Black Joe". Other collaborators with whom Carpenter worked include Everett F. Briggs, Dove See, Kahl Ra-Faun, Bill Boyd, Karen Bank, Frank Lowry, and Flournoy Miller.

As a composer, and lyricist, of Swing and Popular music, few of Carpenter works were ever published. Still, he was in great demand as a music arranger and did prodigious work on music composed by both White and Black composers.

   Francisco Caro
b: 1888, Uruguay
Among the great "Old Guard" Tango composers, one may find as many Uruguayans as Argentinians. Francisco Caro was the son of a very poor Italian immigrant family that first settled in Uruguay. While he was still young, his family moved to Buenos Aires seeking to improve their lot. Young Francisco worded at several small jobs before finally devoting himself to his real passion, music. At first he worked in Vincente Greco's band, and then formed his own group which found work in various well known cabarets including the Royal Pigal, and Armenonvillle. He subsequently formed three different orchestras, each was nominally directed by one of his brothers, but all actually answering to his orders. Among his best known works are "Sentimento Gaucho", "Tablada (the Cattle market)", "Charamusca (Brushwood)", "El Chamuyo (Sweet Talk)", and "Pjaro Azul (the Blue Bird)."

   Francisco Canaro
Nickname: "Pirincho"
b: Nov. 26, 1888, San José�de Mayo, Uruguay, d: Nov. 14, 1964, Buenos Aires, Argentina.
His father, Francisco Canaro, and his mother, Rafaela Gatto, were both Italian immigrants to Uruguay. In 1898, his family relocated to Buenos Aires, Argentina. (Not until 1940, did Francisco became a nationalized Argentinean.) Young Francisco, first tried his hand at vocalizing, but soon learned to play the guitar and mandolin when his local shoemaker, another Italian immigrant, taught him how to play these instruments. Another neighbor, made him an improvised violin out of an empty oil can and other parts, and so Canaro also learned to play the violin, - which would become his principal instrument. 10 years later, he was playing in Paris, France. Juan Caldarella and the Scarpino brothers dedicated one of their Tangos "Canaro to him in Paris", to him. Here's a photo of Francisco Canaro. (The singer in photo is Albert Castillo (better known for his work with Ricardo Tanturi.) And, here's a publicity photo of the Francisco Canara Orquesta - (source unknown).

Between 1908-1920, Canaro had his most prolific composing period. His best known works from that time include: "Times", "Madreselva", "Mano Brava", "El Chumayo", "La Tablada", "Nuevo Puntos", "Pinta Brava", "Chauscada", "El Pollito", "La Llamada", "Nobleza de Arrabal", and "Milonga Con Variacin". He composed many more including 1924s, "Feeling Gaucho", which received the first Max Gluksmann (Odeon discs) prize. Carlos Gardel recorded that song. Canaro also composed waltzes, - such as "Corazon De Oro" and "Vibraciones De Alma", slow milongas such as "Milonga De Mis Amores", and fast milongas such as "Milonga Bravo", and"La Milonga De Buenos Aires". He may have made more recording than any other Tango orchestra leader. In 1961, the 73 years old Canaro appeared on the TV program " I am Buenosairean".

"Pirincho's" career as a composer and bandleader spanned the years 1916-1964. He was also one of the founders and also the very first president of SADAIC, the Argentine composers and authors society.

   Brun Campbell
b. 1884, Washington, KS, USA. d. 1952
Here's a photo (from album cover: Joplin's Disciple Delmark DE-753) of Brun Campbell in later years. In 1893, Brun's father took part in the "Cherokee Strip land rush", and failing to acquire property, became a traveling salesman, moving about the newly-settled Indian Territory with his family. Somewhere along the line, a young Brun learned to play the piano and the pop songs of the 1890's. At age 14, he was already playing piano professionally in an Oklahoma City music shop where he met a customer, Otis Saunders, himself a pianist and close friend of Scott Joplin. Campbell later told interviewers that Saunders was carrying an inked manuscript of Scott Joplin's "Maple Leaf Rag", which was not published until the following year. Saunders challenged Campbell to play it. Subsequently, Campbell decided to go to Sedalia, MO, to meet Joplin. He studied with Joplin and the Turpin brothers, as well as meeting ragtime composers Louis Chauvin, Scott Hayden, and James Scott.
Joplin nicknamed him "The Ragtime Kid" and gave him lessons. In the last years of his life, Campbell would often claim "I was Scott Joplin's only White pupil. One of the problems with all this is that, over the years, Brun told many tales, with subjects ranging from marksmanship to performing for famous outlaws; -stories that were often contradicting. Accordingly, Campbell's veracity is somewhat questionable. Still, there is sufficient evidence that he was in Sedalia around 1900, and known to the Black community. After Sedalia, Campbell played piano in the saloons and sporting houses across the Midwest and South, finally becaming a bartender, and then fading from sight for more than thirty years. In the 1940's, Paul Affeldt, publisher of Jazz Report magazine found Campbell working as a barber in Venice, California, still playing in his same 1910 style. Affeldt said he would sit in the shop for hours listening to Campbell's stories about the time he'd spent with Joplin as well as of hearing performers like Ma Rainey, Bessie Smith, and Ethel Waters first hand. Campbell was the real deal -- a ragtime pianist who had actually been there when the music was being played in sporting houses across the country.
Very few other ragtime pianists of the era had recorded, and among them only Campbell had ever studied with Joplin. Listeners used to the more mannered ragtime recordings of later interpreters will probably be surprised by the looseness of Campbell's style. Campbell composed a number of tunes of his own, such as "Essay in Ragtime", "Salome's Slow Drag", and "Lulu White".
Loosely quoting the liner notes of one of his albums, Campbell said:
       "None of the original pianists played ragtime the way it was written.
       They played their own style. Some played march time, fast time, slow time
       and some played ragtime blues style but none of them lost the melody, and
       if you knew the player and heard him a block away you could name him by
       his ragtime style."
Campbell's few dozen recordings are considered to be the most authentic examples of early midwestern saloon ragtime that exist. Many ofthese recordings have been re-issued on the Euphonic Sounds label.

   Salvador Tutti Camarata
b. May. 11, 1913 in Glen Ridge, NJ, USA.
As a trumpet player, Camarata worked for bands led by Jimmy and Tommy Dorsey, and Benny Goodman. At times, Tutti led his own orchestra (most notably for the Vic Damone Show on TV). However, his greatest fame began as one of the best of the great Arrangers of the Big Bands era. Camarata's career is interestngly entwined with the Classics and with Pop music. In the Pop music field, Camarata orchestrated and/or produced historic recordings by bandleaders Louis Armstrong, and Duke Ellington, and for singer Billie Holiday. Included among his orchestrations for the Jimmy Dorsey orchestra are such world wide hits as "Green Eyes" and Tangerine," and there were numerous other big band hits for other Swing orchestras.

Still, this fame with Pop music must be balanced with his early career. He first studied at New York's Juilliard School of Music, and he also learned the art of orchestral conducting under Cesare Sodero of New York's Metropolitan Opera. In 1943, he conducted and orchestrated a recording by Jascha Heifetz. In 1944, Camarata moved to England where he worked on the soundtrack of the film "London Town". When the Decca Records affiliate in England signed him to a recording contract, his first projects for the label included orchestrating and conducting a series of albums focusing on the compositions of Tchaikovsky, Bach, Puccini, Verdi, Bizet, and Rachmaninoff.

Then in 1958, Camarata became a part of the Walt Disney organization when he helped the company to form Disney Records. Camarata would remain with Disney for the next 16 years, producing over 300 albums, including the film soundtracks of "Snow White", "Jungle Book", and "It's a Small World", "35 Disney Melodies", and vocal albums by actresses Annette Funicello and Hayley Mills. In 1957, he recorded "Tutti's Trumpets", and in 1980, "Tutti's Trombones", both for Disney's Buena Vista label.

From his times with the great Swing bands of the 1930s and '40s, Camarata had come a long ways when he produced "The Power and the Glory", an album (released on the Celestial Visions label) of spiritual hymns that he recorded for the Church of Jesus Christ of Latter-day Saints (the Mormons). The album was recorded with a 100-piece orchestra, a 180-voice adult choir, a children's choir, a pipe organ, and antiphonal brass.

As a "Tin Pan Alley" composer, working alone or with collaborators, Camarata has worked on well over 200 songs. In addition to his own compositions, he also re-worked well known Classics for both Television and Films, including such works as:
   "Chorus of Maids", (from the opera 'Pique Dame')
   "Polovtsian Dance", (No. 17)
   "Prelude", (in G Minor -Opus 23)
   "Quartet", (from Rigoletto)
   "Impromptu", (from Jeux D'Enfant)
   "Finale", (from Act 2 La Boheme)
   "Farandole", (from L'Arlesienne Suite)
And many more.

Among his own 'serious' works are:
   "Rhumbalero"
   "Rhapsody for Alto Saxophone and Orchestra"
   "Tall Trees", (for Chamber Orchestra)

Among the Pop compositions for which he wrote both Words and Music are:
   "Southland"
   "Where s the Spumoni"
   "Camptown Boogie"
   "Trumpet Tango"
   "Silver Sleigh Bells"
   "How the Camel Got His Hump"
   "Mouse Square Dance"

And, among the tunes that he co-composed are:
   "Who Knows", with Sunny Skylar
   "No More", with Sidney Keith Russell (aka: Bob Russell)
   "You Wouldn't Wouldn't You", with Sidney Keith Russell (aka: Bob Russell)
   "Shoot The Meat Balls To Me", with Jimmy Dorsey
   "A Man And His Drums", with Jimmy Dorsey
   "Mutiny In The Brass Section", with Jimmy Dorsey
   "Sweet River", with William D. Dunham
   "He's My Ideal", with William D. Dunham
   "Man Talk Too Much", with Buddy Ebsen, and Fess Parker, Jr.
And perhaps a 150 others.

   Bob Carleton
composer/piano, b. St. Louis, Missouri, USA , d. July 12, 1956, Burbank, California, USA.
né: Robert Louis Carleton
During World War I, Carleton was stationed at the U. S. Navy.Great Lakes Naval Training Center in Illinois, where he wrote musical shows for morale purposes. He will probably always be best known for his composition "Ja Da", a song that has been recorded by a veritable 'Who's Who" of music.

Among the songs that he composed were:
    "Down In the Little Green Valley"
    "Hit and Run Driver"
    "I've Spent the Evening In Heaven"
    "I've Got to Break Myself of You"
    "Phillipine Dance"
    "Red Headed Gal"
    "Sailor's Waltz"
    "Somebody Else Has Taken My Place"
    "Teasin'"
    "The Fighting Engineers"
    "Where the Blues Were Born in New Orleans".
    "Where Oh Where Is Someone For Me"

   Miguel Caló
Currently no information available on this fine Argentine Tango Composer and bandleader.
Here's a photo of the Miguel Caló Orquesta - source unknown.