Ray Heindorf

Composer, conductor, and orchestrator Ray Heindorf worked prolifically in Hollywood right away from the audio era of the films in the later ’20s to the finish from the studio room program in the later ’50s. Because the head from the music section at Warner Bros. Images for greater than a 10 years, he helped offer music for a huge selection of movies, whether he constructed the ratings himself or oversaw the task of others. His innovative efforts brought him 18 Academy Prize nominations and three Oscars. Although his principal responsibility was to the films, and he was essentially a behind-the-scenes musician, nevertheless his function spilled over in to the documenting field, as he published popular tunes that gained recordings, carried out the orchestras for soundtrack albums, and also released a small number of discs under his personal name, a few of these actions resulting in TOP strikes. Ray John Heindorf was created on August 25, 1908, within the Hudson River city of Haverstraw, NY. He required an early desire for both music and films, and by age 14 was playing the piano to accompany the displaying of silent movies at an area theater. He went to the Troy Conservatory of Music. In Oct 1927, Warner Bros. released the audio era by launching the very first feature film with audio, The Jazz Vocalist, starring Al Jolson. Shortly, all of the studios had been turning out talkies, and composers had been essential. Heindorf headed western world and was initially utilized by MGM, where he orchestrated Arthur Lange’s rating towards the Hollywood Revue, released in August 1929, and made an appearance onscreen within the brief subject The Melody Authors’ Revue, released in January 1930. That, nevertheless, ended up being his only function while watching surveillance camera and his last work at MGM. Shortly, he was employed in the music section at Warner Bros., where he composed the main name music and orchestrated Bernhard Kaun’s rating at under Eighteen, released in Dec 1931. He made up the rating for Crooner, released in August 1932, collaborated with Kaun on Big Town Blues, released the next month, and obtained Central Recreation area, released in Dec. Film musicals, which got liked a vogue using the introduction of talkies, had been less effective in the first ’30s, however they made a large return when Warner Bros. released 42nd Road in March 1933, using its Harry Warren/Al Dubin melody rating, Busby Berkeley’s geometric choreography, and Ruby Keeler’s innocent attraction. Heindorf offered as arranger over the picture, also focusing on the follow-ups Silver Diggers of 1935 (1935), Silver Diggers of 1937 (1936), and Silver Diggers in Paris (1938) (that he and Heinz Roemheld composed the rating). Although soundtrack albums didn’t exist within the 1930s, conductor John McGlinn re-created Heindorf’s orchestrations over the Busby Berkeley Record, released by Angel Information in 1994. Heindorf continued to be a relatively minimal amount in the Warner Bros. music section in the first ’30s, nevertheless, getting occasional tasks to compose ratings, usually in cooperation with others. He distributed the ratings of the 1934 movies Desirable along with a Lost Female with Kaun and Roemheld, even though he earned singular composer credit for the rating of Murder within the Clouds, released that Dec, Kaun wrote the primary and end game titles. This situation acquired for all of those other ’30s. Heindorf made up the ratings for Captain Bloodstream (1935) and Four’s a Group (1938) by himself, but distributed Broadway Hostess (1935), The Performing Child (1936), Varsity Display (1937), Hollywood Resort (1938), Naughty But Fine (1939), ON YOUR OWN Toes (1939), as well as the Roaring Twenties (1939) with Roemheld; Harmful (1935) with Roemheld and Kaun; and Guy Meets Gal (1938) with Howard Jackson. Heindorf have scored Knute Rockne, All American, released in Oct 1940, after that collaborated with Roemheld on Blues in the night time, issued in Dec 1941. His and Roemfeld’s following rating proclaimed a milestone in Heindorf’s profession when they managed Yankee Doodle Dandy, the film biography of Broadway superstar and songwriter George M. Cohan, starring Adam Cagney. The film, released in-may 1942, was a significant hit, getting eight Academy Prize nominations, included in this one because of its music. At the moment, there have been two credit scoring honours, one for dramatic or comic images, another for musicals, and Heindorf and Roemheld had been nominated within the second option category, winning once the honours had been announced on March 4, 1943. The award arranged a design for Heindorf’s considerable recognition from the Academy for the reason that it arrived for a musical film which he had mainly modified the melodies compiled by Cohan for credit scoring purposes. Almost all of his following nominations would seriously similar tasks. And the ones nominations emerged hot and large within the 1940s. In 1943, Heindorf was once again provided an Oscar nod — another straight prize — for credit scoring the musical This is actually the Army, in line with the stage present with tracks by Irving Berlin. In 1944, Heindorf gained a single nomination for the all-star extravaganza Hollywood Canteen and distributed a nomination with Louis Forbes for the RKO creation Up in Hands (a loose remake of Whoopee!, in line with the Broadway musical), starring Danny Kaye, but proceeded to go home vacant handed. Another RKO task with Kaye, Question Guy, brought Heindorf his 5th Academy Award nomination (once again distributed to Forbes) in 1945, and his 6th arrived exactly the same 12 months, for Warner Bros.’ George Gershwin film biography Rhapsody in Blue, this rating co-composed with Utmost Steiner. Actually, Heindorf also got a third nomination in 1945, that one for greatest tune. He and M.K. Jerome constructed “Some Sunday Morning hours,” with lyrics by Ted Koehler, for the Errol Flynn Traditional western San Antonio, and also before that picture made an appearance in Dec 1945, it became a high Ten strike for Helen Forrest, who documented it for Decca. Regrettably, non-e of Heindorf’s 1945 nominations led to an Oscar, and he’d do with out a third statuette until close to the end of his profession. But his 8th nomination arrived in 1946, once again distributed to Steiner, for All the time, a film biography of Cole Porter, and in 1947, he and Steiner had been nominated for My Crazy Irish Rose, a film biography of just one more Broadway songwriter, Chauncey Olcott. Heindorf was devote charge from the Warner Bros. music section in 1947. Within this capability, he continuing to compose ratings, but he also acquired general responsibility for the music in every of the business’s produces, and his film credit frequently was “musical movie director,” a catchall that included a number of duties from organizing and orchestrating to performing and also adding musical cues to ratings acknowledged to additional composers when revisions and retakes needed it. He helped Warner Bros. release some initial film musicals in the past due ’40s (frequently employing vintage tunes with publishing privileges owned by organization) you start with Apr Showers (1948), that he co-wrote the rating with Steiner, and Love on the Great Seas (1948), which presented former band vocalist Doris Time being a musical humor superstar and which gained Heindorf his tenth Academy Award nomination. In 1949, he have scored the Joan Crawford dilemma Flamingo Street; the film biography of Broadway celebrity Marilyn Miller, Search for the Metallic Lining (leading to his 11th Oscar nomination); as well as the Doris Day time musical It’s an excellent Feeling. The 10 years from the 1950s was at least as active for Heindorf because the ’40s have been. He do credit scoring work with the 1950 movies Backfire, Tea for just two (in line with the Broadway musical No, No, Nanette), The Breaking Stage, as well as the West Stage Story, the final gaining him his 12th Academy Prize nomination. But probably his perhaps most obviously music credit for the entire year was included with the Feb release of SON having a Horn, a film in regards to a stressed jazz trumpeter loosely predicated on Bix Beiderbecke that starred Kirk Douglas, whose playing was dubbed by Harry Wayne, and Doris Day time. Alex North made up the rating, with Heindorf offering as musical movie director, but Heindorf also had written a style, “Melancholy Rhapsody,” that was presented with a lyric by Sammy Cahn and, without featured in the ultimate film, was documented with an recording from the film’s film made by Day time and Wayne and released by Columbia Information. That recording spent 12 weeks at number 1 within the graphs. Heindorf’s affinity for jazz was also emphasized with what was, at that time, an exclusive event. On Apr 16, 1950, he managed a celebration at his house of which jazz pianist Artwork Tatum played, as well as the functionality was documented. A similar night time happened five years afterwards, on July 3, 1955, and finally the recordings produced their method to disk, with Heindorf acknowledged as manufacturer. Reissued being a two-CD arranged by Verve beneath the name 20th Hundred years Piano Genius, the recordings reached quantity 12 within the jazz graphs in 1996. Heindorf’s ratings for movies released in 1951 included The Lullaby of Broadway, Goodbye, My Nice, Come Fill up the Glass, I’ll Observe You in my own Dreams (a display biography of songwriter Gus Kahn starring Danny Thomas and Doris Day time), and Starlift. Also, a lot more prominently than in 1950 with SON having a Horn, Heindorf obtained recognition within the record racks. MGM Information had introduced the idea of the “first soundtrack” record in 1946 with Right up until the Clouds Move By, and Columbia Information had released the 33 rpm “long-playing” (LP) record in 1948, initially primarily within a 10″ format (using the 12″ edition becoming standard with the mid-’50s). With one of these enhancements, albums including recordings from the ratings of movies — either used straight from the film soundtracks or specifically documented — started to become common. Among Heindorf’s many projects in 1951 was providing as musical movie director for any Streetcar Called Desire, the display adaptation from the Tennessee Williams play starring Marlon Brando, released in Sept. Alex North made up the music, but Heindorf carried out the orchestra for the Capitol Information soundtrack record, and Capitol also released an individual, “Four Deuces”/”Streetcar,” acknowledged to Heindorf, his initial record discharge under his very own name. Heindorf collaborated with various other composers on his film ratings of 1952, writing About Encounter with David Buttolph, Where’s Charley? and Apr in Paris with Howard Jackson, and prevent, You’re Getting rid of Me with Buttolph and Jackson. He also experienced a co-composing credit with Maximum Steiner on the remake from the Jazz Vocalist starring Danny Thomas, leading to his 13th Oscar nomination. His 14th nomination arrived the following season for the Traditional western musical Calamity Jane, starring Doris Time, and he also executed the Columbia soundtrack record, which reached number 2 within the graphs. One other rating for the entire year, in cooperation with Howard Jackson, was Three Sailors and a woman, and he also carried out the Capitol soundtrack for The Eddie Cantor Tale as well as the RCA soundtrack for WHICH MEANS THIS Is Like, the film biography of opera celebrity Grace Moore, photos for which he previously offered as musical movie director, and a Capitol LP known as Music by Maximum Steiner. In 1954, he and Howard Jackson have scored Lucky Me, but his most celebrated work with the entire year was on the remake of the Star EXISTS starring Judy Garland, who was simply making her go back to Hollywood after four years. The film, released in Oct, brought him his 15th Academy Prize nomination, and he executed the Columbia soundtrack record, which reached number 4 within the graphs. Next up, early in 1955, was Teen in mind, a musical humor starring Doris Time and Frank Sinatra, that Heindorf constructed “Right up until My Love Involves Me” (lyrics by Paul Francis Webster) and, with Don Pippin, “Keep Me within your Hands” (lyrics by Charles Henderson), tunes sung by Day time within the film and documented by her on her behalf Young in mind Columbia LP, which reached quantity 11. Heindorf also collaborated with Howard Jackson within the rating of Sincerely Yours in 1955, but he gained his greatest publicity beyond Hollywood that yr with Pete Kelly’s Blues, a criminal offense drama occur the Prohibition Period and starring stone-faced Jack port Webb of Dragnet popularity. The film also presented Peggy Lee and Ella Fitzgerald, both of whom had been contracted to Decca Information, as the soundtrack record was designated to Columbia. Because of this, Columbia acknowledged the soundtrack to Heindorf (who constructed the rating with David Buttolph and executed) with Matty Matlock, whose Dixieland music group performed the 1920s choices, while Decca released a Tracks from Pete Kelly’s Blues LP acknowledged to Lee and Fitzgerald, like the music “Pete Kelly’s Blues,” made up by Heindorf with lyrics by Sammy Cahn. Both albums produced the very best Ten. Heindorf’s following composing work also led to contending albums. He have scored Serenade, released in 1956, starring Mario Lanza, who was simply contracted to RCA Victor Information, and he executed the orchestra on RCA’s Serenade record, acknowledged to Lanza, which reached the very best Ten. But Columbia also released an instrumental record from the film’s music acknowledged to Ray Heindorf and His Orchestra. That didn’t maintain RCA from employing him to carry out its soundtrack recording of Alex North’s rating for The Poor Seed in nov the year, nevertheless. And by the end of 1956, he carried out Capitol Information’ soundtrack for Dimitri Tiomkin’s rating to Giant, having a posthumous display appearance by Adam Dean, then continuing his association using the renowned professional by issuing A Tribute to Adam Dean, another Ray Heindorf record for Columbia, in 1957, exactly the same calendar year he executed Kenyon Hopkins’ rating for Baby Doll on the Columbia LP. Heindorf’s two main credit scoring initiatives for 1957 also created soundtrack albums: a display screen adaptation from the Broadway musical The Pajama Video game (constructed with Howard Jackson) starring Doris Time that produced a high Ten Columbia record as well as the Helen Morgan Tale, a film biography from the Broadway celebrity with Ann Blyth (dubbed by Gogi Give), leading to an RCA recording that reached the graphs. Heindorf’s composing credits for 1958 included VIRTUALLY NO TIME for Sergeants (with David Buttolph), House Before Dark, and an version from the Broadway musical Damn Yankees that brought him his 16th Oscar nomination along with a performing credit around the charting RCA soundtrack recording. He also executed the RCA soundtrack record for Utmost Steiner’s rating to Marjorie Morningstar, that he had offered as musical movie director, as well as the Mercury Information soundtrack towards the Diana Barrymore film biography AN EXCESSIVE AMOUNT OF, Too Soon, having a rating by Ernest Yellow metal. Increasingly, while carrying on to mind the Warner Bros. music section, Heindorf got moonlighted on documenting tasks. However in 1958, Warner Bros. finally released its record label, as well as the Ray Heindorf Orchestra was its 1st documenting artist, liberating a recently made documenting of Victor Young’s rating for the 1943 film For Whom the Bell Tolls because the 1st LP released by the brand new imprint, implemented afterwards in 1958 with the Heindorf Orchestra’s edition of Spellbound, the rating from the 1945 film constructed by Miklos Rozsa. Heindorf’s following Warner Bros. Information LP was Auntie Mame, predicated on Bronislau Kaper’s rating for the 1958 film that he had offered as musical movie director; it had been released in 1959, combined with the Heindorf Orchestra’s treatment of the Gershwin classics “Rhapsody in Blue” and “An American in Paris” about the same LP. Heindorf also made up two film ratings for 1959, Up Periscope and –30-, but with the studio room system in decrease Warner Bros. no more could afford a full-scale music section, and Heindorf still left the company by the end of the entire year. Although he was just 51 yrs . old, Heindorf semi-retired by the end of his tenure at Warner Bros., time for action for just a few select tasks. IN-MAY 1960, he carried out a television unique, The Frances Langford Display, that led to an recording released by Chanford Information. In 1962, he came back to Warner Bros. to supervise the display edition from the Broadway musical The Music Guy, performing the causing soundtrack record, which hit number 2 within the graphs and proceeded to go gold, and getting his 17th Academy Award nomination within the recently created category Credit scoring of Music — Version or Treatment. He became the very first champion for the reason that category, collecting his third Oscar from presenter Ginger Rogers on Apr 8, 1963. In 1964, he released the recording Top Film Styles, ’64 on Warner Bros. Information. He returned towards the studio room once again in 1968 to take care of the film edition from the Broadway musical Finian’s Rainbow, starring Fred Astaire and Petula Clark, once again producing a charting soundtrack record and an Academy Prize nomination for greatest adapted rating, although this time around he lost towards the year’s big champion, Oliver! He constructed the rating for an bout of it series O’Hara, USA Treasury in 1971, and in 1972 reunited with previous Warner Bros. chief executive Jack port L. Warner, right now an independent maker, for his last task, the film edition from the Broadway musical 1776, offering as musical movie director and performing the soundtrack recording released by Columbia. After that he retired totally. He passed away in Tarzana, CA, on Feb 3, 1980, at age group 71, survived by three kids and four grandchildren.