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Mort Garson

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    Mort Garson, 83; composer used Moog synthesizer By Dennis McLellan Los Angeles Times Staff Writer January 11, 2008 As an arranger and conductor in the 1960s,
    Message 1 of 2 , Jan 27, 2008
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      Mort Garson, 83; composer used Moog synthesizer

      By Dennis McLellan
      Los Angeles Times Staff Writer

      January 11, 2008

      As an arranger and conductor in the 1960s, Mort Garson worked on
      albums by artists such as Mel Torme, Joanie Sommers and Glenn
      Yarbrough.

      As a composer, he wrote music for Mel Brooks' and Carl Reiner's 1975
      animated television special "The 2000 Year Old Man," "The Untamed
      World" documentary series, game shows, movies and "Marilyn! the
      Musical," which debuted in London in 1983.

      And teamed with lyricist Bob Hilliard, he co-wrote the 1963 Ruby and
      the Romantics hit "Our Day Will Come," which rose to No. 1 on national
      charts.

      But it was his work as a composer using the then-new Moog synthesizer
      on a series of albums in the late 1960s and '70s that developed a cult
      following that continues today.

      Garson died of renal failure Jan. 4 in a hospital in San Francisco,
      said his daughter, Day Darmet. He was 83.

      "He gained his greatest underground loyal fans for all of his
      electronic creativity," Darmet said. "If you go on EBay, people are
      still trying to buy those albums."

      Beginning with "The Zodiac: Cosmic Sounds" in 1967, Garson created
      numerous albums using the Moog synthesizer, including "Electronic Hair
      Pieces," a 1969 version of songs from the hit Broadway musical "Hair,"
      and "Signs of the Zodiac," a 12-volume 1969 series featuring one album
      for each astrological sign.

      Garson was making "The Zodiac: Cosmic Sounds" album for Elektra with
      writer Jacques Wilson when an orchestra member said he knew engineer
      Robert Moog, who had invented the first commercially available
      electronic music synthesizer a few years earlier.

      "I met him, got interested in his invention and immediately put it in
      'Zodiac' to add a sweetness to the sound," Garson told the Los Angeles
      Times in 1969.

      "That was the first album ever to use the Moog synthesizer and a live
      orchestra together," said Bernie Krause, who was at the "Zodiac"
      recording session.

      Krause said he and his music partner, Paul Beaver, had introduced the
      Moog synthesizer to pop music and film in Hollywood in 1967 and were
      selling the units and teaching classes on how to use them.

      " 'Zodiac' is a very influential cult album from the '60s," said
      Trevor Pinch, co-author of "Analog Days: The Invention and Impact of
      the Moog Synthesizer," a 2002 book that featured a 1969 photograph of
      Garson and his Moog synthesizer on the cover.

      " 'Zodiac' influenced all sorts of people, including the Moody Blues,"
      Pinch said. "They came up with 'Nights in White Satin' after listening
      to 'Zodiac: Cosmic Sounds.' "

      Garson said in the Times interview that he didn't use the Moog
      synthesizer in "a very sophisticated way" on the 1967 "Zodiac" album.

      But by the time he and Wilson did the 1968 A&M album "The Wozard of
      Iz: An Electronic Odyssey" -- a hippie-style parody of "The Wizard of
      Oz" in which Dorothy proclaims that "Kansas isn't where it's at" -- he
      said he had learned most of the techniques.

      "His albums were fabulous examples of New Age music and really kind of
      kicked off the New Age genre -- and they were enormously popular,"
      Krause said. "It was part of the texture of the whole San Francisco
      flower scene and all the rest of it in the late '60s."

      At the time of Garson's interview with The Times in July 1969, his
      Moog synthesizer music was about to be heard by millions of Americans
      who would be glued to their TV sets watching history in the making:
      the Apollo 11 mission to land on the moon.

      At frequent intervals during coverage of the mission, CBS aired a 6
      1/2 -minute commentary-free film produced by Chuck Braverman with
      music by Garson.

      Garson completed the score for the film -- a doctored and edited
      version of NASA films from previous space flights -- in a week in the
      small studio in his home in the Hollywood Hills.

      "The only sounds that go along with space travel are electronic ones,"
      he told The Times. "The Apollo film shows different facets of the
      flight -- blastoff, separation of the stages of the rocket, scenes of
      the moon at close range, of the astronauts playing games in the ship
      and of earthrise."

      The music, he said, "has to carry the film along. It has to echo the
      sound of the blastoff and even the static you hear on the astronauts'
      report from space. People are used to hearing things from outer space,
      not just seeing them.

      "So I used a big, symphonic sound for the blastoff, some jazzy things
      for the zero-G game of catch, psychedelic music for a section that
      uses negatives and diffuse colors on shots taken inside the ship, and
      a pretty melody for the moon. After all, it's still a lovely moon."

      Born July 20, 1924, in Saint John, New Brunswick, Canada, Garson
      attended the Juilliard School of Music and was a pianist and arranger
      with dance orchestras before serving in Special Services during World
      War II.

      He most recently composed a suite of music about San Francisco, his
      home since 1993.

      "He was just putting the finishing touches on it," Darmet said. "We
      were going to digitally record it; we still will."

      In addition to his daughter, he is survived by a grandson.

      A graveside service was held at Forest Lawn
      Memorial-Park, 6300 Forest Lawn Drive, Los Angeles.
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