Certainly the bands and orchestras of the day found little need for the accordion in the 1930's.  Further proof of the instrument's extreme commercial infancy was the fact that in Local 802 in New York there were only eight accordionists, compared to more than 800 today.

But Charles Magnante had ideas.  Taught by his father, a talented amateur accordionist, Charles developed unusual dexterity and style.  He haunted the vaudeville houses to hear his hero Pietro Deiro.  Charles watched Deiro's style, studied his technique and went home to improvise and develop his own individual method.

JAZZ CONCERTO
By the time he was fourteen, he was started on a professional career.  He rejected vaudeville,determined to try new fields .... which left nothing but pioneering in front of him.

By the time he was twenty, young Magnante had turned down many high-priced vaudeville engagements to devote more time to the study of the accordion.  He developed amazing technique and skill.  When Frank Harling, the eminent composer wrote a jazz concerto featuring the accordion which included a cadenza very difficult to interpret, he gave Magnante an audition.  Magnante got the job on the spot.  It was the beginning of a brilliant career.

WITH RAPEE
Within a short time, Charles was a member of the Roxy Jazzmanians and in the Roxy Orchestra.  The latter broke a long standing precedent by using an accordion for the first time in a symphony Orchestra.  For Charles Magnante, it was another step up.

As one of the one hundred and ten men under the world famous baton of Erno Rapee, he not only won recognition for his own virtuosity, but opened a completely new field for future accordionists.

INTO RADIO
The next pioneer step was in the radio world.... then making its own first pioneer steps.  When radio station W.E.A.F. (now W.N.B.C.) began its New York broadcasts, Charles was invited to play.  According to Charles, it is an experience he shall never forget.  The now vast, awe-inspiring N.B.C. network was then a one room office.  Performers and announcers would put on a show as technicians, visitors and executives wandered in and out.

But, like radio, Charles' popularity grew.  He was soon brought into the very popular Roxy Gang, a weekly radio feature, later joined the Major Bowes " Capitol Family Hour" and for years appeared with his quartet on the " Lucky Strike Hit Parade."

Today he is one of the most popular radio artistes on the N.B.C. network.  Instead of stressing his talent as a solo artiste, Magnante consistently directed his work towards the recognition of the accordion as a respected member of the instrument family.  When he could have toured the country as a soloist, Magnante preferred to start his own quartet, appearing with them on the air and at concerts.

RADIO'S NO 1
In 1939, he achieved an ultimate ambition when he gave a concert at Carnegie Hall .... the first accordionist to ever appear in that distinguished hall.  He was accompanied by his quartet and won rave notices from the leading musical critics.

Although today Magnante is recognized as Radio's premier accordionist (in America), he is also ranked as one of the country's outstanding composers and arrangers for his instrument.

HIS ADVICE
He has very definite ideas about what study methods should and should not be used, and in expressing them, has not only simplified previous complete study methods, but has given a professional flair to his arrangements that enables elementary students to play with the sound and effect of professionals.

When asked for his advice to young accordionists, Magnante offered these sound ideas:

" Too many young Accordionists put the stress completely on the classics when preparing for a professional career.  All too often they discover they lack the versatility to make a living. Students should definitely have a fundamental background in the classics.  It is a valuable aid to dexterity, but their course of training should also include serious thought and study of the art of sight-reading, for it is an important factor in group work for it is here that the accordionist will find his richest source of income."

ALL ROUNDERS
According to Magnante, the average accordionist will find his work with groups and orchestras will become more than 75 percent of his income, whereas the solo market will account for less than 25 percent.

He claims a professional accordionist should be able to fill-in, have a knowledge of all types of popular rhythms and repertoire of popular and standard music.

Mr.Magnante knows whereof he speaks for through his efforts a bigger and more profitable world is now open in accordionists.

In recognition of his valuable contribution to his profession, he was elected President of the American Accordionists' Association in 1950, being also a founding member of the organization