Marty Gold born 26 December 1915

                   

Martin Gold (December 26, 1915 – January 14, 2011) was an American composer, pianist, and bandleader whose career spanned more than five decades and included scores of recordings both of his own studio orchestra and of collaborations with well-known singers, instrumentalists, and pop culture icons of the 20th century. 

Born in Brooklyn, New York, to Russian immigrant parents, Marty spent his early musical career in regional novelty groups, including the Schnickelfritz Band and a spinoff that he co-founded called the Korn Kobblers, self-described as “America’s most nonsensical band.” He composed, arranged, and played piano for the Korn Kobblers, whose performances incorporated comic bits and odd instruments such as jugs, car horns, washboards, and mouth harps. The band played New York-area clubs from 1939 through 1954 and starred in one of the nation’s earliest weekly television shows, a 30-minute combination of music and skits called “Kobb’s Corner” that was broadcast in 1948 and 1949 by CBS. 

After working as a freelance arranger for several record companies, Marty joined RCA in the mid 50s and settled into a long period of arranging, producing, and recording under his own name. His early LPs, for RCA and its affiliate Vik, exploited the effects of stereophonic recording, which had just been developed and which record companies were eager to promote. The covers for albums such as “Higher Than Fi” and “Stereo Action Goes Hollywood” promised music “in living stereo” and “the sound your eyes can follow.” Later, the bulk of Marty’s records put the music, rather than the technology, first. 

Using orchestras staffed by many of New York’s best musicians, often including lush string sections and numbering as many as 50 or 60 players, Marty pushed the boundaries of what some called “easy listening.” His arrangements of familiar tunes featured extensive original passages, added intricate counter melodies, and applied unexpected styles and instrument combinations. He often included improvised sections, which helped distinguish his music from the more predictable sounds within the genre. This also helped him recruit leading jazz players as ad hoc members of the orchestra, including trumpeters Clark Terry and Joe Wilder, pianist Dick Hyman, and clarinetist/saxophonist Phil Bodner. 

                                   

Among his popular recordings were “Sound Power,” “Sounds Unlimited,” and “For Sounds’ Sake,” all high-octane orchestral offerings, as well as “Suddenly It’s Springtime” and “Twenty-Four Pieces of Gold.” Many of his records were organized around themes, including “Skin Tight,” which showcased percussion instruments; “Classic Bossa Nova,” a re-working of classical melodies; and “Swingin’ West.” In recent years, Marty’s music has enjoyed a resurgence among fans who label it “space age pop” or “space age lounge pop.” 

Beyond his own albums, Marty arranged, produced, and conducted for the recording sessions of singers Sarah Vaughn, Lena Horne, and Carmel Quinn, pianists Peter Nero and Marian McPartland, and many others. For a few recordings, he joined forces with partners who were popular among the children of his adult audience, writing music for recordings by the television kids’ show host Shari Lewis and author Theodor Geisel, better known as Dr. Seuss. In addition, he worked on television and film projects, providing the musical arrangements for the Elia Kazan film “A Face in the Crowd” and composing themes for Lloyd Bridges’ TV series “Waterworld.” He even appeared on camera as part of a band of old-timers who improvised a comic musical backdrop for several scenes with Madonna in the 1985 film “Desperately Seeking Susan.” 

While at RCA, Marty also served as an “A&R man,” recruiting new talent for the label. For years after leaving that position he would occasionally invite friends and musical colleagues to listen to one of his favorite audition tapes featuring an impressive young female vocalist he had brought in whom the company’s executives ultimately rejected as “not ready.” The singer, who was quickly signed by Columbia Records, was Barbra Streisand. 

During most of his career Marty lived in suburban New Jersey, close to the recording studios and musical talent concentrated around New York City. Entering semi-retirement in the late 1980s, he and his wife moved to southern California to be near many of their children and grandchildren. Since then, he had concentrated his musical energies on educational projects, including arrangements for college and high school bands, magazine articles, and books. 

Marty Gold died from kidney failure on January 14,2011,  in Agoura Hills, California. He was 95. 

(Edited from martygold.wordpress.com)