for piano in 2002. As the decade of the 1960s unfolded, public interest in the accordion began to diminish in the United States while the popularity of rock music continued to grow. As a result, many established accordion studios either diversified or closed down entirely. With this in mind, Serry devoted the remaining thirty-five years of his professional career to the performance of liturgical music as a freelance organist at the Interfaith Chapel of Long Island University C W Post CampusThe New York Times, 9 June 1965, p. 47The New York Times14 June 1987, P. New York Region in Brookville, New York (1968–2002). As more rabbis sought to unite couples of different faiths without first requiring conversions in the 1960s and 1970s, he collaborated with several clergymen of both the Jewish and Catholic religious traditions including: Rabbi Nathaniel Schwartz and the Rev. John HeinleinRabbi Nathaniel Schwartz and Rev. John Heinlein officiate at the C. W. Post Interfaith Chapel Death Serry died after a brief illness on Long Island, New York in 2003, age 88. Performance style Several of John Serry's early live performances and recordings were reviewed by critics in such noted magazines as The Billboard, Cash Box and The Players Magazine - National Journal of Educational Dramatics. His recording with the Biviano Accordion and Rhythm Sextette for Sonora Records in 1945 (Accordion Capers) was reviewed by Billboard magazine, which noted that the music on the album was strictly for listening as opposed to dancing. While accompanying a dramatic vocalist he was cited for contributing to an intriguing and nuanced performance. His recording of Latin American music with the Alfredo Antonini Viva America Orchestra was described as "as amongst the most attractive" by critics at The New Records in 1946. His musical arrangements were also cited for using the accordion to convey a variety of musical moods with easy-going grace intended for low-pressure listening. Above all else, he was applauded on his album Squeeze Play for utilizing the accordion to establish a beautiful, relaxed and soothing mood while avoiding a more common type of "show-off" performance. Works Compositions and arrangements His compositions include: Desert Rumba (for accordion, 1939; publisher Antobal Music, 1951) Glissando (for accordion, publisher Biviano Music, 1942) Tarantella (for accordion, 1942; publisher Alpha Music, 1955) Valse (Composer Pytor Ilych Tchaikovsky (Opus 39 No. 8), arr. for accordion, publisher Viccas Music, 1946) Fantasy in F (for accordion, publisher Viccas