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Earl Rose, a member of Local 802 since 1966, is a legend in more ways than one. He recently celebrated 30 years of playing at Bemelmans Bar at the Carlyle, where he performs with a Local 802 union contract.

His affinity for performing songs from the Great American Songbook remain one of his life’s greatest passions. “The sophistication of American standards by composers such as George Gershwin, Harold Arlen, Rodgers and Hart and Cole Porter allows me to constantly reinterpret their classic songs year after year so they can be heard in evolving ways, for both aficionados and new audiences alike,” says Rose. “However, I also enjoy playing more contemporary music as well from artists such as Coldplay and Paul McCartney,” he adds.

Marlene Poynder, managing director of the Carlyle, told Allegro, “Bemelmans is beloved for many reasons, and Earl is certainly one of them. For more than three decades, his presence at the Steinway has brought a sense of magic and timelessness that only live music from the Great American Songbook can evoke.”

Earl is an Emmy-winning composer, pianist, arranger and conductor who’s won three ASCAP awards for being among the top five most performed composers in television.

Earl composed the music to several films, including “Alan Pakula: Going for Truth” (with Harrison Ford and Meryl Street), “Inventing L.A.: The Chandlers and Their Time” (which won a Peabody), “Always at the Carlyle” (with George Clooney), “Mad Dog Time” (with Jeff Goldblum and Richard Dreyfuss), and “Paddy Chayefsky: Collector of Words” (which just got a writeup in the New York Times).

He can also be seen performing his original music in “No Hard Feelings,” Sofia Coppola’s “On the Rocks,” Garry Marshall’s “New Year’s Eve” as well as the Netflix series “Partner Track,” and HBO’ s “Love Life.” His music has been featured in “The Better Sister,” “Reacher,” “True Detective,” “Shameless,” “Sex in The City,” “Call Me Kat,” “The Goldbergs,” “The Magicians,” “Pan Am,” “The West Wing,” “E.R.” and many others.

Earl’s songwriting and recording successes include the Emmy Winning and platinum selling song, “Love Is A Gift” (recorded by Olivia Newton-John and co-written with Victoria Shaw and Olivia Newton-John); “Every Beat Of My Heart” (co-written and recorded by Brian McKnight); co-writing “Right From the Heart” (recorded by Johnny Mathis); and “I Found Love” (co-written and recorded by Peabo Bryson).

Rose began his composing and conducting career in the late 1960’s, while still in college, as assistant music conductor for NBC’s “The Tonight Show” starring Johnny Carson, when the show was based in New York. He continued a part time affiliation with the show until Carson’s departure in 1992.

Truly, Earl’s musical resume is too large to fight into this small space, but fans can check out his New York Times profile from 2019 for more highlights.

Allegro recently caught up with Earl Rose and asked him about his incredible musical life.

Allegro: How did your journey in music begin?

Earl Rose: I was seven years old and my parents decided to have a house party, rent a piano for the evening and hire a pianist to play for the evening. The minute the piano was delivered I could not stop wanting to play it. During the party that evening I constantly tried to push the pianist off the bench so that I could play. The next day, when the piano movers came to take away the piano I cried and and started kicking them. Six months later my parents bought me an upright piano and I began my classical training. I never stopped until graduating from music conservatory.

Allegro: What were your first lessons like?

Earl Rose: My early classical training was with private piano teachers. It was when I began my college training at the Mannes College of Music that I became good friends with some of the greatest musicians. In addition to having such classmate friends as classical pianist Murray Perahia and mezzo-soprano Frederica von Stade, I started working after school at the NBC Studios as a page and, later, directly with the Tonight Show. It was there that I met and became friends with some of the greatest jazz musicians in the Tonight Show band: Clark Terry, Grady Tate, Snooky Young, Bucky Pizzarelli, so many others. They were all so supportive of me. At the Tonight Show I got to meet many of the pianists that influenced my love of jazz piano: Andre Previn, Oscar Peterson, Earl “Fatha” Hines, Joe Bushkin. One of them. Peter Nero, became a good friend and mentor — not only musically but in the business of music. Fortunately my piano teacher at Mannes, Frances Dillon, was supportive of me in exploring popular music and jazz in addition to my classical studies. During my first experiences studying classical music I went to countless concerts hearing Rubinstein, Horowitz, Gilels, Richter, Bernstein. I wanted to soak it all up. They all were so unique. Let me mention some other friends and influences. I think of my good friend, Dick Lieb, trombonist and arranger for the Tonight Show band. He gave me arranging lessons and I learned so much from him. Also Doc Severinsen, who was always so supportive. When I first started playing at Carlyle, pianist Barbara Carroll, who was also playing in Bemelmans, was so encouraging and gracious. As was legendary Bobby Short, who would suggest unknown songs I should play.

Allegro: What were your earliest professional musical experiences?

Earl Rose: Before playing my first long-term piano playing gig at an east side restaurant called The Sign Of the Dove, I played various weekend jobs in the midtown and NYC area. I knew I had to learn plenty of songs to keep the guests happy and that’s what I did. After several years it ended, but that opened several new doors for me. I got signed by Columbia Artists Management and started performing concerts all over the U.S. and Canada, some as guest artist and conductor with symphony orchestras. I also started composing music for television and films, which continues today.

Allegro: Did you study music in college? If so, tell us about what this was like. Who were your teachers, what ensembles did you play with, and what was your biggest takeaway?

Earl Rose: Attending the Mannes College of Music was so rewarding in every way. My teachers were always sensitive to my love of both the classical and jazz world. I did take an extension division conducting class at Juilliard as well and discovered, to my delight, that J.J. Johnson was in as well. What a musician! Dedication is the big takeaway.

Allegro: When was the moment you decided to commit to the life of a professional musician? How did you know this was going to be your path?

Earl Rose: I knew at 10 years old when my parents took me to see the film “The Eddy Duchin Story.” That was it! I think I saw the film 50 times — I became obsessed with it the playing of Carmen Cavallaro.

Allegro: How did your musical career proceed after college? What was your first big break?

Earl Rose: My musical career really began during college. I started working with the Tonight Show and the  Dick Cavett Show as music librarian and sometimes arranger . My first experience writing songs for TV was the Captain Kangaroo series in 1976, with lyricist Judy Spencer. We wrote about 30 songs for the show. In 1980 I scored a CBS Movie of The Week and in 1983 I was hired as the composer for ABC’s Ryan’s Hope series and composed all the music for the series with Local 802 musicians until its final show in 1989. Following that I did the same for ABC’s All My Children series until 1995. Those opportunities enabled me to compose several hit song recordings with such artists as Johnny Mathis, Olivia Newton-John, Brian McKnight, and Peabo Bryson. This evolved into a full career of film/TV scoring at the same time as making sure I kept my playing career equally active.

Allegro: What has been your favorite gig over the years?

Earl Rose: I would certainly say my 30 year residency at Bemelmans Bar in the Carlyle has been my favorite. I have had the chance to meet so many of the hotel’s esteemed guests, and it has enabled me to play the Great American Songbook (as well as classical music) each week. You can’t beat that! And I love that I’m paid on a Local 802 contract.

Allegro: When you think of who has taught you the most on a gig, who comes to mind?

Earl Rose: When I think of who taught me the most, it’s interesting, because it’s someone who I got to know so well only during the last years of his life and relatively late in my life: Andre Previn. Spending much time with him allowed me to really see how important high standards are to having a fulfilling career and long-successful one. He also made me see how important it is to laugh.

Allegro: What was one of the funniest things that happened to you on a gig?

Earl Rose: I was performing a concert in the midwest and, all of a sudden, the grand piano lyre fell to the floor. I changed my style — and I finished the concert to a happy audience. Then afterwards I laughed — Andre would have approved.

Allegro: Why do you think unions are important or valuable or necessary for musicians?

Earl Rose: Clearly they are valuable for your self-esteem and proper pay — not to mention pension benefits as well as a statement of your commitment to music.

Allegro: Let’s say you meet a young person who’s obsessed with becoming a professional musician and is willing to do whatever it takes. What is your best advice for this young person?

Earl Rose: Listen to every style of music possible. Study musicians and composers of the past and read about their lives. Don’t work for free. Be proud of what you are giving to the world with your craft.