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Clare Fischer

Douglas Clare Fischer (October 22, 1928 – January 26, 2012)[1] was an American keyboardist, composer, arranger, and bandleader.[3] After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s.[4] Fischer went on to work with Donald Byrd and Dizzy Gillespie, and became known for his Latin and bossa nova recordings in the 1960s. He composed the Latin jazz standard "Morning", and the jazz standard "Pensativa". Consistently cited by jazz pianist and composer Herbie Hancock as a major influence ("I wouldn't be me without Clare Fischer"[5]), he was nominated for eleven Grammy Awards during his lifetime, winning for his landmark album, 2+2 (1981), the first of Fischer's records to incorporate the vocal ensemble writing developed during his Hi-Lo's days into his already sizable Latin jazz discography; it was also the first recorded installment in Fischer's three-decade-long collaboration with his son Brent. Fischer was also a posthumous Grammy winner for ¡Ritmo! (2012) and for Music for Strings, Percussion and the Rest (2013).[6]

Clare Fischer

Douglas Clare Fischer[1]

(1928-10-22)October 22, 1928
Durand, Michigan, U.S.

January 26, 2012(2012-01-26) (aged 83)
Los Angeles, California, U.S.

Composer, arranger, bandleader, session musician

Synthesizer, piano, keyboards, electric piano, alto sax

1943–2011[2]

Beginning in the early 1970s, Fischer embarked on a parallel (and far more lucrative) career, eventually becoming a much sought-after arranger,[1] providing orchestral "sweeteners" for pop and R&B artists such as Rufus (with Chaka Khan), Prince (a regular client from 1984 onwards, and by far Fischer's most frequent in pop music), Robert Palmer, Paul McCartney, Michael Jackson and many others.[7]

Salsa Picante years[edit]

In 1975, after ten years of studio work and artistically successful yet obscure solo records, Fischer found a new direction. Just like Hancock and Chick Corea he was a pioneer on the electric keyboard, and in that capacity he joined vibraphonist Cal Tjader's group. The reunion with Tjader gave a new impulse to Fischer's love of Latin-American music. He started his own group with Latino musicians, "Salsa Picante", which showed great eclecticism in musical styles. Later he expanded to include four vocalists billed separately as "2 + 2".


The album 2+2 won a Grammy in 1981. After that he recorded And Sometimes Voices and Free Fall with the vocal group. Free Fall was nominated in three categories for the Grammy Awards and won under the category of "Best Jazz Album By A Vocal Duo Or Group". Crazy Bird was with the instrumental group and Alone Together, a solo piano album recorded on a Hamburg Steinway. It was recorded for Hans Georg Brunner-Schwer and the German company MPS Records.


In the 1970s, Fischer began doing orchestral sweeteners for R&B groups. His nephew, André Fischer, was the drummer of the band Rufus, featuring Chaka Khan. "Apparently the arrangements I made for their early records were appreciated, for in the following years I was hired almost exclusively by black artists."[9] Among the artists Fischer worked for are The Jacksons, Earl Klugh, Switch, Debarge, Shotgun (a late 70s offshoot of 24-Carat Black) and Atlantic Starr. His walls are now covered with gold and platinum records from these recordings, Grammy Award nominations, and several NARAS MVP Awards, culminating in an MVP-emeritus in 1985.


Once his fame as an arranger was established, Fischer also worked with pop musicians such as Paul McCartney, Prince, Celine Dion and Robert Palmer. "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."[9]


Classical concert artist Richard Stoltzman commissioned him in 1983 to write a symphonic work using Duke Ellington and Billy Strayhorn themes. The result, "The Duke, Swee'pea and Me", an eleven and a half minute orchestral work, was performed with a symphony orchestra and Stoltzman on clarinet all around the world.[14]

Later years: jazz inspiration and pop arranger[edit]

Starting in 1985, Fischer wrote orchestral arrangements for pop artist Prince.[15] Fischer's arrangements appeared both on Prince's albums and in the Prince film soundtrack music for Under the Cherry Moon (Fischer's first screen credit), Graffiti Bridge, Batman and Girl 6. Prince's 2005 single "Te Amo Corazon," a mid-tempo Latin jazz track, is one example of his collaboration with Fischer.


As a jazz educator, Fischer performed solo piano concerts and conducted clinics and master classes in universities and music conservatories in Europe and throughout the United States.[16] In 1995 Fischer released the solo jazz piano album Just Me on the Concord Jazz label. In 1997, his Latin-jazz group, which featured six singers, released the album Rockin' In Rhythm on the JVC Music label.


In 1993, the Dutch jazz pianists Cor Bakker and Bert van den Brink recorded an album of Fischer compositions together entitled DeClared. In 1998, the album The Latin Side, which also featured Fischer compositions, was released by The Netherlands Metropole Orchestra (led by Rob Pronk and Vince Mendoza). Another notable recent CD with Clare is a re-issue of Art Pepper's Tokyo Debut on Galaxy (1995).


In addition to his work with Prince, Fischer provided arrangements for Michael Jackson, Amy Grant, João Gilberto, Paula Abdul, Natalie Cole, Chaka Khan and Branford Marsalis. This work enabled Fischer to record his own music with a band of twenty brass instruments called "Clare Fischer's Jazz Corps". The recordings of this band contain an arrangement of Antonio Carlos Jobim's "Corcovado". Fischer said of Jobim that "[t]he death of my friend Tom Jobim has affected me deeply. Like me, he was 68, and I am still alive. After he died I had a dream in which I was conducting his 'Corcovado'. Only it was not a normal version, there were these harmonic countermelodies in the bass. When I awoke I wrote down what I had dreamed. It became Jobim's In Memoriam, a piece I called 'Corcovado Fúnebre.'"[9]


One of Fischer's last projects in his own name was a recording with Brazilian guitarist Hélio Delmiro called "Symbiosis" which has been released on a "Clare Fischer Productions" recording as has his Clare Fischer's Jazz Corps recording.


In December 1999, Michigan State University School of Music conferred an Honorary Doctorate of Fine Arts Degree on Fischer in recognition of his "creativity and excellence as a jazz composer, arranger and performer".


On October 22, 2009, Manhattan School of Music's Concert Jazz Band, under the direction of Justin DiCoccio, commemorated two Clare Fischer anniversaries - both his 81st birthday and the 40th anniversary of the release of his well-regarded big band LP, Thesaurus - with a concert whose program concluded with five consecutive arrangements culled from that album. Fittingly, the five-tune sequence both began and ended, much like the album itself, with "The Duke" and "Upper Manhattan Medical Group," respectively,[a][17] Fischer's tributes to his twin jazz inspirations, Duke Ellington and Billy Strayhorn.[b] Fischer could not attend the tribute; following a medical emergency on the flight home from a family reunion in Michigan the previous year, the family had decided that air travel was "just too stressful."[19]

Death[edit]

On January 8, 2012, Fischer suffered a cardiac arrest in Los Angeles, following a minor surgery a few days before. His wife of 18 years, Donna, was at his side and performed CPR.[20] He remained in ICU on life support, and died on January 26, 2012. He was survived by his wife; three children, Lee, Brent and Tahlia; and two stepchildren, Lisa and Bill Bachman.[21]

Career Wins: 3

[22]

Career Nominations: 13

Brent Fischer

Dirk Fischer

. The Owosso Argus-Press. December 13, 1943.

"Former Durand Boy Orchestra Leader At Age of 15"

Tynan, John (June 8, 1961). . Down Beat. p. 18.

"Star on the Rise"

Fischer, Clare. (with ). "Clare Fischer – Blindfold Test". Down Beat. October 25, 1962. p. 39.

Feather, Leonard

Fischer, Clare. . Down Beat. November 8, 1962. p. 23.

"On Bossa Nova"

. Billboard. February 8, 1964.

"Jazz Pianist to Set Up Method Workshop on Coast"

. "Clare Fischer: The Pan-American Way". Saturday Review. November 28, 1964. pp. 46–47.

Thompson, Robert Farris

. The Lawrence Journal-World. November 30, 1965.

"Students Invited To Jazz Festival"

. Billboard. July 1, 1967.

"Brief Solos"

Fischer, Clare. (with Feather, Leonard). . Down Beat. October 19, 1967. p. 38.

"Clare Fischer – Blindfold Test"

Fega, Mort. . Cash Box. March 1, 1969.

"Focus on Jazz"

Moody, Lois. . The Ottawa Citizen. November 23, 1979.

"Moody's Jazz: Latin Rhythms Add Color"

. The Calgary Herald. February 26, 1983.

"Big-band Fans Get A Treat"

. The Sonora Union Democrat. February 22, 1984.

"College Guest"

Locklin, Lydia. . The Sonora Union Democrat. November 21, 1986.

"College Jazz Series: Latin Salsa Of Clare Fischer A Complement To Jazz Show"

Liska, James. . Los Angeles Times. May 18, 1987.

"Jazz Review : 2+2: Challenge Plus Wit Found Friday At Le Cafe"

Wilson, John S. . The New York Times. October 18, 1987.

"Critics' Choice: Jazz"

Wilson, John S. . The New York Times. October 25, 1987.

"Jazz: Clare Fischer, Pianist, at Weill Hall"

Heckman, Don. . Los Angeles Times. September 26, 1988.

"Jazz Reviews: Fischer and Friends Stir It Up at Le Cafe"

Stewart, Zan. . Los Angeles Times. October 25, 1989.

"Musicians Set for Clare Fischer Tribute; `Boatful of Blues' on L.A. Harbor Cruise"

Heckman, Don. . Los Angeles Times. October 31, 1989.

"JAZZ REVIEW: Star Performers at Fischer Tribute"

. "JAZZ REVIEW: A Coming-Out Party for Fischer" Los Angeles Times. March 23, 1990.

Feather, Leonard

Feather, Leonard. Los Angeles Times. July 12, 1990.

"JAZZ REVIEW: Fischer, Trotter Lead a Five-Star Set"

. The Sonora Union Democrat. February 7, 1992.

"College to Stage Latin Jazz Shows"

Heckman, Don. . Los Angeles Times. July 3, 1992.

"Fischer: a Ferocious Teddy Bear : Pianist Says He's Soft and Cuddly--When You Stay on His Good Side"

Stewart, Zan. . Los Angeles Times. March 26, 1993.

"Horizon Reaching for New Horizons: Saxophonist Bobby Watson's group makes its L.A. debut; Critic's Choice"

De Haan, Maarten. . Artist Interviews. 1998.

"Clare Fischer: The Best Kept Secret in Jazz"

Jolley, Craig. . All About Jazz. March 1999.

"Meet Clare Fischer"

Rideout, Ernie. "Master Class: Voicing with a Heart". . August 2000. pp. 54–56, 58, 60, 62.

Keyboard

Heckman, Don. . Los Angeles Times. March 1, 2001.

"Piano-Guitar Duo a Marvel of Subtlety"

Phelps, Boyd. "Clare Fischer: An Interview With Clare Fischer". Jazz Player. April 2001. pp. 25–30.

Heckman, Don. . Los Angeles Times. February 11, 2003.

"A Star Turn for the 'Secondary' Clarinet: Clare Fischer's deft ensemble showcases the musical virtues of the woodwind"

Heckman, Don. . Los Angeles Times. September 12, 2007.

"Drawing new 'Pictures at an Exhibition': Brent Fischer ably translates the classic piece into a new big-band aesthetic"

Hancock, Herbie; as told to Michael J. West. . JazzTimes. April 5, 2013.

"Herbie Hancock Remembers Clare Fischer"

Kahr, Michael. ". Jazzforschung / Jazz Research 46, 2018. pp. 73-90.

"Chromativ Harmony in the Music of Herbie Hancock and Clare Fischer

Kahr, Michael. . Darmstädter Beiträge zur Jazzforschung, 2016. pp. 71-83.

"Chromaticism and Identity in the Music of Clare Fischer"

Clare Fischer's Website