With the passing of the late, great Don Sebesky, we lost another musical giant. It got me to thinking how in popular music today we hear about the importance of record producers in helping create a certain sound for recording artists. However, back in the 1950s and 1960s during the heyday of MOR music it was the musical arranger who helped create the sound for recording artists. Back then before the synthesizer and sampling, the arranger was like a conductor of a pop symphony orchestra. He would arrange and orchestrate the rhythm section, the horns and strings in so many different and wonderful ways. Along with Sebesky, the list of great arrangers was long and deep. Think of the Nelson Riddle, Billy May, Gordon Jenkins, Quincy Jones, Don Costa arrangements for Sinatra. Off the top of my head, here are other so many others: Ray Conniff, Percy Faith, Mary Manning, Sid Feller, Mary Paich, Pat Williams, Jack Andrews, Nick Perito, Peter Metz, Ralph Burns, Marion Evans, Torre Zito, Nick De Caro, Bob Mersey, Johnny Mandel, Bob Florence, Perry Bodkin, Ralph Carmichael, Neal Hefti, Paul Weston, Eumir Deodato, Al Cohn, Gil Evans, David Rose, Henry Rene, Dave Grusin, Dick Hazard, Al De Lory. And remember the splendid arrangements written by Herb Alpert and Julius Wechter for the TJB and BMB.
Sebesky had an insightful comment about Bossa Nova from a 2010 interview conducted by Marc Myers: "The Bossa Nova was probably the demarcation line---where Jazz-pop ended and jazz-rock began---since the Brazilian form was so musical."
Sebesky had an insightful comment about Bossa Nova from a 2010 interview conducted by Marc Myers: "The Bossa Nova was probably the demarcation line---where Jazz-pop ended and jazz-rock began---since the Brazilian form was so musical."