Alter played in vaudeville houses as the accompanist for the headliners Irène Bordoni and Nora Bayes. He appeared with Bayes from 1924 until her death in 1928, touring the United States and abroad.[1] Since he had previously written some songs for Broadway shows, Alter decided to concentrate on songwriting after her death. His first hit was "Manhattan Serenade" (1929), originally an instrumental that later became the theme music of the Easy Aces radio program. There are numerous recordings of "Manhattan Serenade" and it was featured prominently in Nancy Groce's book, New York: Songs of the City (Watson-Guptill, 1999). Alter recalled, "I was a great fan of Whiteman when I first came down here from Boston. He was the first big name I actually followed around and met. I was having a love affair with New York when Whiteman commissioned me to write a tone poem. I walked around this city for six months absorbing the sights and sounds. And then suddenly it came to me. Once I plunged into it I finished it in two hours."[2]
Films and Broadway
In 1929, Alter moved to Hollywood, where he wrote songs for films, beginning with The Hollywood Review of 1929. He continued to provide piano accompaniment for various singers, including Beatrice Lillie and Helen Morgan. His contributions to Broadway musicals included songs in Sweet and Low (1930) and Ballyhoo (1931).
In 1941, Alter signed on with the United States Air Force, performing for troops and also co-ordinating shows and other entertainment at West Coast air bases. As a piano soloist with the Los Angeles Philharmonic, he performed at the Hollywood Bowl. In 1942, "Manhattan Serenade" once again became a hit after Harold Adamson added lyrics.
Alter also composed large-scale pieces for piano and orchestra, including American Serenade and Metropolitan Nocturne. In later years, he lived in New York and maintained a summer residence on Fire Island.
After Hurricane Katrina, his song "Do You Know What It Means to Miss New Orleans" took on a different kind of meaning in 2005–06 and experienced a revival due to its use in various post-Katrina documentary films and TV shows. It was used for strong emotional effect in Spike Lee's four-hour film When the Levees Broke (2006) and an equally moving dramatic sketch by Billy Crystal on HBO's Comic Relief 2006.
