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Sometime 30 years ago I wrote a piece for the Stan Kenton Neophonic Band. The night of the concert at the Music Center Auditorium in Los Angeles Stan… - Clare Fischer
" "Sometime 30 years ago I wrote a piece for the Stan Kenton Neophonic Band. The night of the concert at the Music Center Auditorium in Los Angeles Stan counted it off much too fast. When it came to the recapitulation at the end, the woodwind instrumentation had changed to mixtures of piccolos, flutes and saxes; and being too fast, it turned into a woodwind knuckle-buster. I was hiding on the floor between the seats. Later, when this was recorded, Stan counted too slowly. That recording was released without my piece. Years later when Stan created his "The Creative World of Stan Kenton" record company, Capitol was so angry that he had left them and released everything they had in the can to jeopardize his market. My piece was released with the first third cut off. I rewrote this for my present instrumentation and when we first went through it, while conducting, I was in tears to finally hear what I had written 30 years ago.
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About Clare Fischer
Douglas Clare Fischer (October 22, 1928 – January 26, 2012) was an American keyboardist, composer, arranger, and bandleader, best known for his innovations in the fields of Latin jazz and vocal arranging (as well as his integration of the two), and for his preeminent position among late 20th-century orchestral arrangers of popular music. TOC
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Douglas Clare Fischer
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Additional quotes by Clare Fischer
Nepotism. My brother’s son, André Fischer, was the drummer in the band Rufus, with Chaka Khan. Apparently, the arrangements I made for their early records were appreciated, so in the following years I was hired almost exclusively by black artists. I am surprised that my arrangements are now considered one of the prerequisites for a hit album. People feel that they make a song sound almost classical.
To me, there are two different types of musicians. Those who are display oriented and those who are content oriented, Bill Evans being a prime example of the content orientation. I am not interested in the displayers—guys who want to be playing a lot of notes to try to impress you that they got a lot of things that they can lay in there. I'm more interested in somebody picking something that has some really great feeling and laying it in, in a really good time concept. Jimmy Rowles is a perfectly good example of that. His choice of notes may not be uncommon, but boy where he lays them down is so individual that I will go for that every time. The same thing applies with composers. When you're a young composer and you first have a chance—and this goes with everybody—you write your most complex works when you're a young man. And then, as you get a little bit older, you find that you can lot simpler things [sic] and still enjoy the devil out of what you're doing.
I'm gonna take a wild guess—I think that was Buddy DeFranco, and possibly the Glenn Miller Orchestra. The band strikes me as an enigma, in that, first of all, some interesting harmonic things are happening as far as the individual voicings are concerned, but yet it's played in an older, tighter fashion. For instance, the bass player, if there are chord changes happening every two beats, plays the root for two beats, then the next root for two beats—that type of sound. The harmony, especially in the opening part where the theme is established, is a lot more modern than that kind of band would normally sound. I think that they're playing that way to keep that Miller identity, with that rhythmic tightness
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