Bernie Nerow (a.k.a. Peter Nero)

Peter Nero (born Bernard Nierow, 1934, Brooklyn) was a pianist and New York native who started with Paul Whiteman, then moved up to symphony until the early '60s, when RCA Victor signed him and successfully promoted him into a pop music interpreter. He won the 1961 Grammy for Best New Artist. His lush orchestrated albums continued through the early '70s, when he returned to a harder jazz format, recording with a trio.

Nierow began playing piano as child, learning the instrument quite rapidly; by the age of 11, he was playing Haydn concertos. However, he was restless and quickly grew tired of classical music, becoming infatuated with jazz as a teenager. In fact, after Nierow finished studying music at Brooklyn College, he became a jazz pianist. However, instead of playing straight jazz, he created a swinging hybrid of jazz and classical music.

Nero made his television debut at the age of 17, playing "Rhapsody in Blue" on a special hosted by Paul Whiteman. He recorded his first album under the name of Bernie Nerow in July 1957 on the Mode label (MOD-LP117), which shows his technical virtuosity in the jazz genre.

Nierow didn't have much success as a performer, which meant he had to take a gig as a saloon pianist in a New York club called the Hickory House. Unsatisfied with the comprimises he was making at the club, he headed out to Las Vegas, where he didn't find much success. He returned to New York, taking a lesser job at the Hickory House. For several years, he played New York's club circuit before he came to the attention of Stan Greeson, an executive at RCA Records. Convinced that Nierow had star potential, Greeson signed the pianist and had him change his name to Peter Nero.

In 1961 he won the Grammy for Best New Artist. Nero's popularity continued to rise throughout the early '60s; his jazzy hybrid of pop, classical, swing, and bop became one of the most popular mainstream sounds of the era. Eventually, he became the musical director of the Philadelphia Pops Orchestra, where he frequently performed classical arrangements of pop songs. In the '70s, he returned to playing jazz in trios, though he still made orchestral records occasionally. Peter Nero died on July 6, 2023; he was 89 yeatrs of age.

The popular pianist Peter Nero made his debut on this Mode LP under his original name, Bernie Nerow. This is one of the pianist's better jazz dates, an exploration of seven standards and two of his originals including the rather cute "Scratch My Bach". Bassist Max Wayne and drummer Dick Stein help out, and the results can be enjoyed by bop fans who would not normally think of buying Peter Nero records. *victrola.com*

 

One of the most obscure sessions for the legendary Mode label — a one-off date by The Bernie Nerow Trio — a group that was actually led by pianist Peter Nero, working here under a "nom de date"! The Nero sound here is much jazzier than on any of his more overblown pop instrumental sides from the time — a lightly leaping approach that still allows plenty of space for his strong command of the keys, yet which never succumbs to its own excesses. Rhythm is by the team of Max Wayne on bass and Dick Stein on drums — and the record's got a gentle warmth and easygoing feel that we like a heck of a lot! Titles include "Lullaby Of The Leaves", "Scratch My Bach", "Red's Romp", "Love For Sale", "How About You", and "Our Love Is Here To Stay". Second pressing of this album appeared on the Premier label under the name Peter Nero and with the title Just For You. *Dusty Groove, Inc.*

Bernie Nerow 

Bernie Nerow Trio

The late Art Tatum probably never knew how convincing and far reaching his piano influences were. Every time he sat at a piano, he was shaping the jazz destiny of that instrument for the edification of the professional and non-professional alike. The majority of our contemporary jazz pianists acknowledge this fact, but for Bernie Nerow the exposure to Tatum altered his entire career. It's a singular tribute to Tatum's genius that Bernie's obvious talents have been channeled into jazz.

Born in Brooklyn during the era when Tatum himself was struggling for personal recognition, Bernie Nerow's musical childhood was as far removed from this influence as his teachers could manage. From the age of seven, right through high school and Brooklyn College, Bernie acquired a thoroughly academic background in classical piano techniques and the accepted theories of harmony and arranging. To all concerned, especially the young musician himself, there wasn't the slightest doubt that he would become a concert pianist.

In the beginning, the young prodigy's fascination for the Tatum innovations was tempered with restraint for, as in all matters of radical change, he found it difficult to absorb Tatum's finger breaking technique and his extraordinary inventiveness. Yet his cultured instincts reminded him that this was piano artistry of a superior type which he must pursue to balance his musical personality. This union of talent and inspiration gave birth to the Bernie Nerow trio. 

As a group the trio was scarcely an instantaneous success, and Bernie became a featured single, performing in such reputable jazz houses as Gotham's Hickory House and the Village Vanguard. Through association with band leader Nat Brandwyne he stepped into television and won five talent shows in a four month period, including Arthur Godfrey's Talent Scouts. Despite these attainments, and a permanent spot on the Tex and Jinx show, his jazz fervor never dimmed so that when the chance came to work the lounge of a newly opened Las Vegas hotel, he reassembled the trio and headed west. This time the public stopped and listened.

The original Nerow trio with Bernie's piano, Max Wayne's bass and Dick Stein's drums gathered in a Hollywood recording studio to turn out their first release for any label. 

If Bernie Nerow's virile approach to piano shows genuine sincerity and dedication then the young man has accomplished his purpose in part. He is a strong advocate of uniting two independent schools of music, and has set about the task of making this union a reality. His initial recording is undeniable proof of his competency. *Joe Quinn (from the liner notes)*

1 - Scratch My Bach

(Bernie Nerow)

2 - Lullaby Of The Leaves

(Petkere, Young)

3 - It Might As Well Be Spring

(Rodgers, Hammerstein II)

4 - Our Love Is Here To Stay

(George and Ira Gershwin)

5 - Red's Romp

(Bernie Nerow)

6 - There'll Never Be Another You

(Gordon, Warren)

7 - Love For Sale

(Cole Porter)

8 - What Is This Thing Called Love

(Cole Porter)

9 - How About You

(Lane, Freed)

Bernie Nerow (piano), Max Wayne (bass), Dick Stein (drums).

Recorded in Hollywood, California, July, 1957