WEBVTT 00:00:00.000 --> 00:00:03.980 So what do Frank Sinatra, Ella Fitzgerald, Nat 00:00:03.980 --> 00:00:07.179 King Cole, and believe it or not, Batman, all 00:00:07.179 --> 00:00:09.880 have in common? It sounds like a setup for a 00:00:09.880 --> 00:00:12.720 pretty strange joke, but the answer is actually 00:00:12.720 --> 00:00:15.609 Riddle. Nelson Riddle. Nelson Spock Riddle Jr., 00:00:15.609 --> 00:00:18.850 yeah. An incredible figure. Absolutely. Today, 00:00:18.929 --> 00:00:22.350 we're doing a real deep dive into the life and, 00:00:22.350 --> 00:00:26.149 frankly, the indelible legacy of this man, the 00:00:26.149 --> 00:00:28.789 arranger, the composer, band leader, orchestrator. 00:00:28.910 --> 00:00:32.390 I mean, his sound really shaped American popular 00:00:32.390 --> 00:00:34.710 music, didn't it? From the late 40s right through 00:00:34.710 --> 00:00:36.950 the 80s. Oh, completely. When you hear that sophisticated 00:00:36.950 --> 00:00:39.649 swing, those sweeping strings, or that really 00:00:39.649 --> 00:00:42.520 punchy, exciting brass. Chances are you're hearing 00:00:42.520 --> 00:00:44.920 Nelson Riddle's work, that meticulously crafted 00:00:44.920 --> 00:00:47.500 sound. Exactly. So our mission today isn't just 00:00:47.500 --> 00:00:49.100 to list his credits, right? We want to really 00:00:49.100 --> 00:00:50.820 unpack his journey. I mean, this is a guy whose 00:00:50.820 --> 00:00:53.200 arrangements didn't just back up legends. No, 00:00:53.240 --> 00:00:54.960 often they made them legends. That's the key. 00:00:55.060 --> 00:00:57.060 We need to explore those formative moments of 00:00:57.060 --> 00:00:59.399 things that really lit the fire for him. And 00:00:59.399 --> 00:01:01.979 dissect those big collaborations. Like with Sinatra 00:01:01.979 --> 00:01:03.979 and Cole, how did they actually work? Why were 00:01:03.979 --> 00:01:06.959 they so successful? Right. And how did he navigate 00:01:06.959 --> 00:01:09.629 such a rapidly changing music scene? you know, 00:01:09.930 --> 00:01:12.790 adapting his talent without sort of selling out 00:01:12.790 --> 00:01:15.329 his artistic vision. And then there's that incredible 00:01:15.329 --> 00:01:18.349 comeback later in his life, just amazing. Totally 00:01:18.349 --> 00:01:20.510 unexpected. So by the end of this, you should 00:01:20.510 --> 00:01:22.489 really get why he's considered such a giant. 00:01:23.170 --> 00:01:25.750 An architect of sound, really, his craft, his 00:01:25.750 --> 00:01:29.269 innovation, it still resonates today. Okay, let's 00:01:29.269 --> 00:01:31.450 start at the beginning then. Nelson Smock Riddle 00:01:31.450 --> 00:01:35.310 Jr., born June 1st, 1921, Oredell, New Jersey. 00:01:36.030 --> 00:01:38.689 But his family background, that's kind of interesting, 00:01:38.769 --> 00:01:41.049 isn't it? Might hint at the musical diversity 00:01:41.049 --> 00:01:43.569 to come. Yeah, his mother, Marie Albertine, was 00:01:43.569 --> 00:01:46.349 of French and Spanish descent. His father, Nelson 00:01:46.349 --> 00:01:49.090 Smok Sr., had English, Irish, and Dutch roots. 00:01:49.269 --> 00:01:52.010 It's quite a mix. It is. Do you think that blend, 00:01:52.069 --> 00:01:54.390 that sort of cultural mosaic, maybe subconsciously 00:01:54.390 --> 00:01:57.430 gave him a broader musical ear early on? It's 00:01:57.430 --> 00:01:59.269 possible, isn't it? Not necessarily specific 00:01:59.269 --> 00:02:01.750 melodies, but maybe just an openness, a flexibility, 00:02:01.870 --> 00:02:05.030 being exposed even subtly to different cultural 00:02:05.030 --> 00:02:07.829 rhythms or sensibilities in the home. Hmm. Could 00:02:07.829 --> 00:02:09.909 be. I might have laid some groundwork for fusing, 00:02:09.909 --> 00:02:13.030 you know, classical structure with jazz or big 00:02:13.030 --> 00:02:15.430 band with Latin rhythms later on. Exactly. Less 00:02:15.430 --> 00:02:17.490 about direct influence, more about cultivating 00:02:17.490 --> 00:02:21.150 a broad, adaptable musical mind. And there's 00:02:21.150 --> 00:02:23.289 another layer, too. Quite poignant, actually. 00:02:23.490 --> 00:02:26.569 He was an only surviving child. Oh, wow. I read 00:02:26.569 --> 00:02:28.990 his mother had endured multiple miscarriages 00:02:28.990 --> 00:02:31.509 and a stillbirth. Six miscarriages and one stillbirth, 00:02:31.610 --> 00:02:34.830 yeah. That kind of history. Yeah. It can sometimes 00:02:34.830 --> 00:02:37.710 instill a real singular focus, can it? Sense 00:02:37.710 --> 00:02:39.849 of purpose, maybe even before he picked up an 00:02:39.849 --> 00:02:42.210 instrument. Certain weight. You can sort of feel 00:02:42.210 --> 00:02:44.770 that drive, that deliberate path when you look 00:02:44.770 --> 00:02:47.270 at how his musical spark ignited. It wasn't just 00:02:47.270 --> 00:02:49.990 casual. No, definitely not. His father's interest 00:02:49.990 --> 00:02:52.789 was key. Panel lessons at eight. than trombone 00:02:52.789 --> 00:02:55.789 at 14. That feels very intentional. And his high 00:02:55.789 --> 00:02:58.069 school, Ridgewood High, apparently really encouraged 00:02:58.069 --> 00:03:00.930 his music. It wasn't just a hobby. Right. But 00:03:00.930 --> 00:03:02.650 what really pushed him, what made him commit, 00:03:02.729 --> 00:03:04.550 it wasn't just lessons. There was this pivotal 00:03:04.550 --> 00:03:07.949 moment, wasn't there? Uh, yes. The Bolero moment. 00:03:08.449 --> 00:03:12.229 Exactly. Hearing Serge Koussevitzky conduct the 00:03:12.229 --> 00:03:14.889 Boston Symphony Orchestra playing Ravel's Bolero, 00:03:15.129 --> 00:03:18.400 his description of it is just... electric," he 00:03:18.400 --> 00:03:20.439 said. It's almost as if the orchestra leaped 00:03:20.439 --> 00:03:23.180 from the stage and smacked you in the face. Incredible 00:03:23.180 --> 00:03:26.240 imagery. It wasn't just hearing music. It was 00:03:26.240 --> 00:03:29.580 physical, visceral. It was the power of the orchestration 00:03:29.580 --> 00:03:32.539 itself, Ravel's genius in layering instruments, 00:03:32.979 --> 00:03:35.400 building that immense crescendo. The meticulous 00:03:35.400 --> 00:03:37.639 architectural approach to sound. That's what 00:03:37.639 --> 00:03:40.430 hit him. the sheer potential of arrangement and 00:03:40.430 --> 00:03:42.530 orchestration. It showed him what was possible, 00:03:42.590 --> 00:03:45.129 the impact you could have. One piece of music 00:03:45.129 --> 00:03:47.669 redirecting a whole life. An orchestra smacking 00:03:47.669 --> 00:03:49.990 you in the face. Yeah, you can see how that would 00:03:49.990 --> 00:03:52.210 shift things because initially he wanted to be 00:03:52.210 --> 00:03:54.110 a performer, right? A jazz trombone player, yeah. 00:03:54.370 --> 00:03:56.469 He was focused on playing. But then he had this 00:03:56.469 --> 00:03:58.750 moment of, well, honest self -assessment. He 00:03:58.750 --> 00:04:00.669 said, I didn't have the coordination. Right. 00:04:00.909 --> 00:04:03.629 And instead of giving up this perceived weakness, 00:04:03.830 --> 00:04:06.729 this limitation actually pushed him towards arranging 00:04:06.729 --> 00:04:09.139 and composing. It's fascinating how that works, 00:04:09.300 --> 00:04:12.680 isn't it? A perceived flaw leading to a completely 00:04:12.680 --> 00:04:15.759 different, maybe even greater, strength and path. 00:04:16.120 --> 00:04:19.360 Absolutely. And that new path got a huge boost 00:04:19.360 --> 00:04:22.220 from early influences and mentorship. The family 00:04:22.220 --> 00:04:24.800 had a summer home in Rumson, New Jersey. Right. 00:04:24.800 --> 00:04:26.699 And he actually convinced his parents to let 00:04:26.699 --> 00:04:30.259 him finish his senior year there in 1938, already 00:04:30.259 --> 00:04:32.420 steering his own course. Definitely. And it was 00:04:32.420 --> 00:04:34.939 there, playing in a local band, the Brigadiers, 00:04:35.240 --> 00:04:38.720 that he met Bill Finnegan. Ah, Finnegan. Only 00:04:38.720 --> 00:04:41.319 four years older, but Riddle said he was considerably 00:04:41.319 --> 00:04:44.339 more musically sophisticated. Yeah. Finnegan 00:04:44.339 --> 00:04:47.339 became a really important early mentor. His influence 00:04:47.339 --> 00:04:50.060 wasn't just theoretical. It directly shaped Riddle's 00:04:50.060 --> 00:04:52.600 arranging style as it was developing. How so? 00:04:52.639 --> 00:04:55.040 What did Finnegan show him? Well, more advanced 00:04:55.040 --> 00:04:57.680 harmonies, probably. Intricacies of voicing for 00:04:57.680 --> 00:04:59.600 different sections, how to craft arrangements 00:04:59.600 --> 00:05:02.079 that really enhanced a melody, not just accompanied 00:05:02.079 --> 00:05:04.420 it. It shows how crucial that early exposure 00:05:04.420 --> 00:05:06.490 to higher level skills can be. And you can see 00:05:06.490 --> 00:05:08.529 the results pretty quickly, can't you? By the 00:05:08.529 --> 00:05:10.670 mid -40s, he's already doing arrangements for 00:05:10.670 --> 00:05:13.569 big names. Exactly. Glenn Miller's Little Brown 00:05:13.569 --> 00:05:16.290 Jug, that was one of his early ones, infusing 00:05:16.290 --> 00:05:19.269 it with that rhythmic precision. And jazz arrangements 00:05:19.269 --> 00:05:22.990 for Tommy Dorsey like Chloe and at Sundown. These 00:05:22.990 --> 00:05:25.209 weren't simple charts. No, they showed a real 00:05:25.209 --> 00:05:29.050 understanding of swing dynamics, brass voicings, 00:05:29.449 --> 00:05:32.269 string textures. The hallmarks were already there. 00:05:32.410 --> 00:05:34.709 It was rapid development building that foundation. 00:05:35.000 --> 00:05:37.860 So moving into his professional years, his late 00:05:37.860 --> 00:05:41.180 teens and early 20s sound like a whirlwind. Playing 00:05:41.180 --> 00:05:44.379 trombone, arranging for local dance bands. Culminating 00:05:44.379 --> 00:05:46.660 with the Charlie Spivak Orchestra. That was significant. 00:05:47.040 --> 00:05:49.160 It wasn't just playing, it was intense, practical 00:05:49.160 --> 00:05:51.819 experience. Learning the mechanics of a big band, 00:05:52.259 --> 00:05:54.759 blending sections, creating dynamics live. A 00:05:54.759 --> 00:05:56.860 real apprenticeship. And all this while the world's 00:05:56.860 --> 00:06:00.040 at war. He joins the Merchant Marine in 43, serves 00:06:00.040 --> 00:06:02.939 two years. But still manages to work with Spivak 00:06:02.939 --> 00:06:06.819 somehow and incredibly continues studying orchestration. 00:06:07.060 --> 00:06:09.439 With Alan Shulman, another merchant mariner who 00:06:09.439 --> 00:06:11.819 is also a composer, how did he even manage that? 00:06:12.079 --> 00:06:14.180 It speaks volumes about his dedication, doesn't 00:06:14.180 --> 00:06:16.660 it? That relentless drive to learn, no matter 00:06:16.660 --> 00:06:19.699 the circumstances. Shulman was a serious composer, 00:06:20.199 --> 00:06:22.759 blending classical and jazz elements. That knowledge 00:06:22.759 --> 00:06:25.009 would have been invaluable. Deepening his understanding 00:06:25.009 --> 00:06:27.709 of counterpoint, harmony, instrumental color, 00:06:28.350 --> 00:06:30.449 stuff he'd use constantly later. Absolutely. 00:06:30.750 --> 00:06:33.209 Then after the Merchant Marine, he steps up again, 00:06:33.649 --> 00:06:36.610 joining Tommy Dorsey's orchestra in 44. Third 00:06:36.610 --> 00:06:39.569 trombone. That's the big leagues. Right. Dorsey's 00:06:39.569 --> 00:06:41.970 band was known for its precision. Another master 00:06:41.970 --> 00:06:45.759 class. But then the Army calls in April 45. He 00:06:45.759 --> 00:06:49.040 serves 15 months. World War II just kept interrupting 00:06:49.040 --> 00:06:51.519 things. But he didn't waste a second after discharge, 00:06:51.600 --> 00:06:54.160 did he? June 46, he's out, and boom, straight 00:06:54.160 --> 00:06:56.180 to Hollywood. Knew exactly where he needed to 00:06:56.180 --> 00:06:58.699 be, focused on arranging. And it paid off fast. 00:06:58.879 --> 00:07:02.240 By May 49, he's got a hit. Doris Day, again, 00:07:02.560 --> 00:07:04.360 reached number two. That was a big breakthrough. 00:07:04.600 --> 00:07:08.860 His arrangement was lush, sophisticated, really 00:07:08.860 --> 00:07:11.180 complimented her voice, but didn't overwhelm 00:07:11.180 --> 00:07:13.939 it. Tasteful restraint. It signaled his arrival. 00:07:14.110 --> 00:07:17.290 And that success leads directly to another pivotal 00:07:17.290 --> 00:07:20.129 moment, maybe the pivotal moment, the Nat King 00:07:20.129 --> 00:07:24.350 Cole connection. Right. 1950, Les Baxter at Capitol 00:07:24.350 --> 00:07:27.589 hires Riddle to arrange for Cole. Cole's transitioning 00:07:27.589 --> 00:07:30.449 from jazz trio to solo star. And Riddle arranges 00:07:30.449 --> 00:07:33.449 Mona Lisa. Which becomes Cole's biggest single 00:07:33.449 --> 00:07:36.810 ever, a massive hit, cements Cole's crossover 00:07:36.810 --> 00:07:39.509 appeal. But the fascinating part, the real aha 00:07:39.509 --> 00:07:42.350 moment, is he gets no credit initially. It's 00:07:42.350 --> 00:07:45.319 all attributed to Baxter. Isn't that wild? But 00:07:45.319 --> 00:07:48.740 Cole apparently heard that sound, knew it wasn't 00:07:48.740 --> 00:07:51.060 just Baxter, and found out who actually did it. 00:07:51.279 --> 00:07:53.680 He specifically sought Riddle out after that. 00:07:53.740 --> 00:07:56.720 Wow. So an uncredited arrangement sparks one 00:07:56.720 --> 00:07:58.660 of the most legendary partnerships in music. 00:07:59.079 --> 00:08:01.939 The sound itself was the calling card. Precisely. 00:08:02.259 --> 00:08:04.779 And Riddle understood collaboration. That same 00:08:04.779 --> 00:08:07.660 year, 1950, he connects with Vern Yoakam. His 00:08:07.660 --> 00:08:10.420 right hand for 30 years, the copyist and librarian. 00:08:10.680 --> 00:08:12.519 Absolutely crucial. You need someone reliable 00:08:12.519 --> 00:08:14.680 to get those intricate scores perfectly prepped 00:08:14.680 --> 00:08:17.720 for the musicians. Jochem ensured Riddle's vision 00:08:17.720 --> 00:08:19.480 was accurately translated. Couldn't have had 00:08:19.480 --> 00:08:22.459 that prolific output without him. OK, so by 1953, 00:08:22.839 --> 00:08:24.860 Riddle is clearly a major talent at Capitol, 00:08:25.060 --> 00:08:27.600 and Sinatra arrives. Yeah, Sinatra moves from 00:08:27.600 --> 00:08:30.439 Columbia to Capital, needing a fresh start. Capital 00:08:30.439 --> 00:08:33.139 execs C. Riddle as the obvious choice. But Sinatra 00:08:33.139 --> 00:08:35.639 resists. He wants to stick with Axel Stordahl, 00:08:35.779 --> 00:08:39.240 his old arranger. Initially, yes, loyalty maybe, 00:08:39.379 --> 00:08:41.639 or just comfort with Stordahl's sound, which 00:08:41.639 --> 00:08:44.639 had defined his crooner image. It makes Riddle's 00:08:44.639 --> 00:08:47.460 eventual success even more dramatic. He had to 00:08:47.460 --> 00:08:49.990 win Sinatra over. When those first Sturdle sessions 00:08:49.990 --> 00:08:52.929 at Capitol didn't quite click, Sinatra eventually 00:08:52.929 --> 00:08:55.250 relented. High stakes for both of them. Huge 00:08:55.250 --> 00:08:58.289 stakes. Sinatra's career was shaky. Riddle stepping 00:08:58.289 --> 00:09:00.950 into massive shoes, needing to reinvent an icon. 00:09:01.269 --> 00:09:04.090 And reinvent me did. First session, April 30th, 00:09:04.090 --> 00:09:07.210 1953. First song. I've got the world on a string. 00:09:07.309 --> 00:09:10.350 And bam, a runaway hit. It just exploded. Everyone 00:09:10.350 --> 00:09:12.789 agrees it relaunched Sinatra's career. Monumental. 00:09:13.110 --> 00:09:15.690 Two legends defining each other. What was it 00:09:15.690 --> 00:09:17.529 about that arrangement? What did Riddle do differently 00:09:17.529 --> 00:09:20.649 from Sturdle? Stortle was softer, more strings, 00:09:20.870 --> 00:09:23.370 almost ethereal, beautiful, but maybe dated by 00:09:23.370 --> 00:09:26.289 53. Riddle brought muscle, but sophisticated 00:09:26.289 --> 00:09:29.549 muscle, a driving swing rhythm, powerful but 00:09:29.549 --> 00:09:32.750 precise brass, vibrant woodwinds. The orchestra 00:09:32.750 --> 00:09:35.250 wasn't just background anymore. Exactly. It was 00:09:35.250 --> 00:09:37.909 an active participant, almost a co -star. It 00:09:37.909 --> 00:09:40.230 created this excitement, this confidence, this 00:09:40.230 --> 00:09:43.169 swagger that matched Sinatra's vocal perfectly. 00:09:43.730 --> 00:09:45.950 Riddle created space around the voice, letting 00:09:45.950 --> 00:09:49.070 it cut through. Incredible. And Riddle himself 00:09:49.070 --> 00:09:51.470 had a favorite Sinatra project, didn't he? Only 00:09:51.470 --> 00:09:54.509 the lonely. Yes, the 1958 Ballad Album. Yeah. 00:09:54.549 --> 00:09:57.429 One of Sinatra's most successful critically and 00:09:57.429 --> 00:09:59.090 commercially. Why do you think that one resonated 00:09:59.090 --> 00:10:01.769 so much with Riddle personally? Well, it was 00:10:01.769 --> 00:10:05.230 a masterpiece of mood, pure atmosphere, a concept 00:10:05.230 --> 00:10:07.730 album about heartbreak. Riddle's arrangements 00:10:07.730 --> 00:10:10.470 were sparse, but incredibly rich emotionally. 00:10:11.230 --> 00:10:14.450 Melancholy strings, muted brass, specific instrumental 00:10:14.450 --> 00:10:16.830 colors, painting this landscape of sadness. Total 00:10:16.830 --> 00:10:19.250 restraint, but amplifying the vocal. Perfectly. 00:10:19.269 --> 00:10:21.470 It showed his depth, not just the swing side. 00:10:21.830 --> 00:10:24.570 He could evoke complex emotions with such subtlety. 00:10:24.950 --> 00:10:26.669 You could see why he'd be proud of that level 00:10:26.669 --> 00:10:29.049 of artistry, where every note served the emotional 00:10:29.049 --> 00:10:31.929 core. A true symbiosis. And the next decade, 00:10:32.190 --> 00:10:35.269 his output is just... Staggering. He's not just 00:10:35.269 --> 00:10:37.970 doing Sinatra and Cole. No. The list is incredible. 00:10:38.429 --> 00:10:41.649 Kate Smith, Judy Garland, Dean Martin, Peggy 00:10:41.649 --> 00:10:45.190 Lee, Rosemary Clooney, Keely Smith. So many others 00:10:45.190 --> 00:10:48.230 at Capitol. Unbelievable demand. Unbelievable 00:10:48.230 --> 00:10:51.610 versatility. How did he tailor his approach for 00:10:51.610 --> 00:10:55.049 such different singers? He was a master of musical 00:10:55.049 --> 00:10:57.809 psychology, really. For Dean Martin, maybe more 00:10:57.809 --> 00:11:01.100 relaxed, easy -going swing. For Peggy Lee, something 00:11:01.100 --> 00:11:04.399 chic, sophisticated, intricate harmonies, highlighting 00:11:04.399 --> 00:11:06.980 her cool delivery. And Garland? He understood 00:11:06.980 --> 00:11:09.539 her drama, arrangements that soared with her, 00:11:09.820 --> 00:11:12.019 full orchestral swells matching her intensity, 00:11:12.620 --> 00:11:14.960 always framing their strengths, elevating their 00:11:14.960 --> 00:11:17.419 essence, never just applying a formula. And he 00:11:17.419 --> 00:11:19.200 wasn't just arranging for others, he was making 00:11:19.200 --> 00:11:21.820 his own records too. Right. Recording his own 00:11:21.820 --> 00:11:23.899 instrumental discs. He was a star in his own 00:11:23.899 --> 00:11:27.269 right. Lisbon Antigua in late 55. Hits number 00:11:27.269 --> 00:11:30.070 one in 56 for four weeks. What was the magic 00:11:30.070 --> 00:11:33.129 there? It was this charming, exotic, instrumental, 00:11:33.509 --> 00:11:35.850 lilting cinematic melody that Portuguese folk 00:11:35.850 --> 00:11:38.529 flavor was very popular then. Riddle's arrangement 00:11:38.529 --> 00:11:41.330 was impeccable, shimmering strings, crisp rhythm. 00:11:41.690 --> 00:11:44.029 It just captured the public's imagination. Showed 00:11:44.029 --> 00:11:45.649 people loved his sound, even without a singer. 00:11:46.110 --> 00:11:48.830 Exactly. They were drawn to his aesthetic, his 00:11:48.830 --> 00:11:51.649 flair for melody. And he had successful LPs too, 00:11:51.769 --> 00:11:54.679 hey? Let yourself go, Kevin. Get happy. Both 00:11:54.679 --> 00:11:58.539 hit the top 20. And then the Grammy win. 1959 00:11:58.539 --> 00:12:02.059 first Grammy ceremony for Cross Country Suite. 00:12:02.240 --> 00:12:05.259 Best musical composition over five minutes. Composed 00:12:05.259 --> 00:12:07.860 for clarinetist Buddy DeFranco. This was huge. 00:12:08.240 --> 00:12:10.759 Absolutely. Showed his skill went way beyond 00:12:10.759 --> 00:12:13.580 arranging existing songs. He was a serious composer 00:12:13.580 --> 00:12:16.250 with ambition. Definitely. Cross Country Suite 00:12:16.250 --> 00:12:18.669 was a multi -movement work, exploring complex 00:12:18.669 --> 00:12:21.169 themes and textures. It proved his peers respected 00:12:21.169 --> 00:12:23.509 him as an original creative voice, not just a 00:12:23.509 --> 00:12:25.789 brilliant interpreter. And his reach kept expanding. 00:12:26.049 --> 00:12:28.470 Film work took off, too, collaborating with Conrad 00:12:28.470 --> 00:12:31.450 Salinger at MGM. For that first Crosby Sinatra 00:12:31.450 --> 00:12:33.830 duet in high society, imagine orchestrating that 00:12:33.830 --> 00:12:36.759 moment. Incredible. And scoring pal Joey in 57. 00:12:37.019 --> 00:12:39.700 Plus, TD, he and his orchestra were regulars 00:12:39.700 --> 00:12:41.399 on the Rosemary Clooney show. He was becoming 00:12:41.399 --> 00:12:43.700 ubiquitous. His sound was everywhere. And then 00:12:43.700 --> 00:12:46.139 the Ella Fitzgerald collaborations in the early 00:12:46.139 --> 00:12:48.860 60s really cemented his status, didn't they? 00:12:49.070 --> 00:12:53.269 Oh absolutely those 1962 albums Ella Swings Brightly 00:12:53.269 --> 00:12:56.049 and Ella Swings Gently and his work on her later 00:12:56.049 --> 00:12:58.830 songbook albums for Jerome Kern and Johnny Mercer. 00:12:59.350 --> 00:13:01.730 Just perfect settings for her voice. He provided 00:13:01.730 --> 00:13:05.330 the ideal harmonic and rhythmic frameworks supportive 00:13:05.330 --> 00:13:08.490 but inspiring allowing her agility and depth 00:13:08.490 --> 00:13:11.350 to shine. It kept that whole great American songbook 00:13:11.350 --> 00:13:14.240 vibrant really. So moving into the 60s, things 00:13:14.240 --> 00:13:17.279 start shifting again. He follows Sinatra to reprise 00:13:17.279 --> 00:13:20.100 records in 63. Right. Staying aligned with his 00:13:20.100 --> 00:13:22.299 key collaborator, working under Morris Stoloff 00:13:22.299 --> 00:13:24.580 there. But he doesn't just stay in that lane. 00:13:25.019 --> 00:13:27.899 He starts exploring. The Tom Jobim partnership, 00:13:28.179 --> 00:13:31.139 1964. That leads to the wonderful world of Antonio 00:13:31.139 --> 00:13:33.879 Carlos Jobim. Yeah. Diving into bossa nova shows 00:13:33.879 --> 00:13:36.529 his willingness to embrace new. International 00:13:36.529 --> 00:13:39.009 sounds. Proving his arrangements could work in 00:13:39.009 --> 00:13:41.389 almost any genre. His influence was going global. 00:13:41.789 --> 00:13:43.590 Okay, but then comes the biggest surprise, maybe. 00:13:43.950 --> 00:13:46.330 The Caped Crusader. How does the guy who arranged 00:13:46.330 --> 00:13:49.009 Sinatra end up doing Batman? Huh. It's wild, 00:13:49.129 --> 00:13:52.490 isn't it? In 1966, William Dozier hires him for 00:13:52.490 --> 00:13:54.970 the Adam West Batman TV series. Neil Hefty did 00:13:54.970 --> 00:13:57.250 the famous theme song. Right, but Riddle did 00:13:57.250 --> 00:13:59.549 all the incidental music. The background score 00:13:59.549 --> 00:14:01.830 for the first two seasons and the movie. He created 00:14:01.830 --> 00:14:05.669 the sound world of Gotham. All the pows and zaps 00:14:05.669 --> 00:14:08.330 orchestrated by Nelson Riddle, it's mind blowing. 00:14:08.529 --> 00:14:10.669 It really is. And you could hear the influence 00:14:10.669 --> 00:14:13.370 bleed over. His score for the John Wayne film 00:14:13.370 --> 00:14:16.950 El Dorado, also in 66, had that Batman -esque, 00:14:17.389 --> 00:14:20.950 brassy, punchy feel. Cross -pollination. Shows 00:14:20.950 --> 00:14:23.950 his incredible versatility, adapting his orchestral 00:14:23.950 --> 00:14:26.929 skill to something totally different. Can't be 00:14:26.929 --> 00:14:29.549 even, but still sounding like him somehow. Exactly. 00:14:29.730 --> 00:14:33.230 He used sharp staccato brass. fan fairs, dissonant 00:14:33.230 --> 00:14:35.830 harmonies, dynamic shifts to match the action 00:14:35.830 --> 00:14:38.789 and the comedy. He made the music as witty and 00:14:38.789 --> 00:14:41.289 exaggerated as the show itself. And his TV work 00:14:41.289 --> 00:14:44.490 kept going strong. Themes for Route 66, The Untouchables, 00:14:44.629 --> 00:14:46.690 The Rogues, musical director for The Smothers 00:14:46.690 --> 00:14:49.049 Brothers Comedy Hour. And more film scores, Robin, 00:14:49.070 --> 00:14:51.210 The Seven Hoods, The Original Oceans 11, Rat 00:14:51.210 --> 00:14:53.529 Pack Central. And then Paint Your Wagon in 69, 00:14:53.850 --> 00:14:55.850 making non -singers like Lee Marvin and Clint 00:14:55.850 --> 00:14:58.769 Eastwood sound while listenable. A true testament 00:14:58.769 --> 00:15:01.840 to his arranging magic. weaving their, let's 00:15:01.840 --> 00:15:04.580 say, limited vocals into something cohesive and 00:15:04.580 --> 00:15:07.860 enjoyable, sheer technical wizardry. But even 00:15:07.860 --> 00:15:10.960 as he's having all the success, that main partnership, 00:15:11.139 --> 00:15:13.679 the Sinatra one, starts to cool off a bit in 00:15:13.679 --> 00:15:15.740 the late 60s. Yeah, it becomes more distant. 00:15:16.120 --> 00:15:18.360 Sinatra starts using other arrangers more frequently, 00:15:18.940 --> 00:15:21.860 like Don Costa, Billy May. Why the shift, do 00:15:21.860 --> 00:15:23.779 you think? What did Costa and May offer that 00:15:23.779 --> 00:15:26.470 was different? Well, it reflects Sinatra's own 00:15:26.470 --> 00:15:29.009 desire to stay current. Kosta brought a more 00:15:29.009 --> 00:15:31.350 contemporary pop sound, maybe harder hitting, 00:15:31.529 --> 00:15:33.850 using more electric instruments, reflecting rock 00:15:33.850 --> 00:15:36.570 and soul influences. And Billy May. May was also 00:15:36.570 --> 00:15:39.429 a big band guy, but his style was maybe looser, 00:15:39.750 --> 00:15:42.470 brassier, more overtly swinging than Riddle's 00:15:42.470 --> 00:15:44.929 polished elegance. Sinatra was exploring different 00:15:44.929 --> 00:15:48.169 vibes. So Strangers in the Night in 66 was their 00:15:48.169 --> 00:15:51.269 last full album project together, though Riddle 00:15:51.269 --> 00:15:53.090 still did arrangements for him later. Right. 00:15:53.259 --> 00:15:55.980 And significantly, the title track, the huge 00:15:55.980 --> 00:15:58.080 hit, Strangers in the Night, wasn't arranged 00:15:58.080 --> 00:16:01.360 by Riddle. It was Ernie Freeman. Ah, signaling 00:16:01.360 --> 00:16:03.860 that shift. Freeman's arrangement had that more 00:16:03.860 --> 00:16:07.399 immediate rock -tinged energy. Exactly. Maybe 00:16:07.399 --> 00:16:09.279 something Riddle wouldn't have approached quite 00:16:09.279 --> 00:16:11.799 the same way. It was definitely a period of transition 00:16:11.799 --> 00:16:13.960 for Riddle, navigating a changing landscape. 00:16:14.220 --> 00:16:17.379 And that leads to a difficult moment. By 1970, 00:16:17.460 --> 00:16:19.740 he's without a recording contract for the first 00:16:19.740 --> 00:16:22.779 time in over 25 years. Yeah, his Liberty Records 00:16:22.779 --> 00:16:26.179 contract had ended a couple of years prior. Imagine 00:16:26.179 --> 00:16:28.960 that uncertainty after decades of constant work. 00:16:29.639 --> 00:16:31.559 That's even challenging. How does someone like 00:16:31.559 --> 00:16:34.340 him handle that? He flies to London, records 00:16:34.340 --> 00:16:37.600 Riddle. Nelson Riddle conducts the 101 Strings. 00:16:37.960 --> 00:16:40.659 But it doesn't quite land, does it? His biographer, 00:16:40.779 --> 00:16:43.840 Peter Levinson, described him as out of his depth. 00:16:43.980 --> 00:16:46.919 trying to fuse contemporary and classical there. 00:16:47.500 --> 00:16:49.840 Why do you think that project misfired? Was it 00:16:49.840 --> 00:16:52.500 just chasing trends? Possibly. He was trying 00:16:52.500 --> 00:16:55.740 to blend his orchestral style with maybe synths 00:16:55.740 --> 00:16:58.440 or pop rhythms that felt unnatural to him. The 00:16:58.440 --> 00:17:01.820 fusion felt forced, lacking that organic sophistication 00:17:01.820 --> 00:17:04.309 of his best work. It shows even masters have 00:17:04.309 --> 00:17:06.329 experiments that don't quite work out, but they 00:17:06.329 --> 00:17:08.349 keep pushing. And he definitely kept pushing, 00:17:08.589 --> 00:17:11.470 because recognition continued. The 1970s saw 00:17:11.470 --> 00:17:14.130 major highlights. He finally wins the Oscar. 00:17:14.549 --> 00:17:18.569 Yes, for the great Gatsby score in 1974, after 00:17:18.569 --> 00:17:22.369 five previous nominations, a huge deserved win, 00:17:22.769 --> 00:17:25.230 capturing that whole era musically. Plus more 00:17:25.230 --> 00:17:28.329 TV success, musical director for the Julie Andrews 00:17:28.329 --> 00:17:30.809 hour, winning an Emmy for that, themes for Emergency, 00:17:31.150 --> 00:17:34.210 and Kareeb. Scoring the Seventh Avenue miniseries, 00:17:34.430 --> 00:17:36.509 his orchestra was still performing live, too. 00:17:36.569 --> 00:17:38.809 He remained very active. And there were those 00:17:38.809 --> 00:17:41.089 final poignant collaborations with Sinatra, too. 00:17:41.369 --> 00:17:43.869 Great. March 77, arranging for that never completed 00:17:43.869 --> 00:17:47.130 album of songs with women's names, Nancy, Emily. 00:17:47.480 --> 00:17:49.920 Linda. Some of which eventually surfaced like 00:17:49.920 --> 00:17:52.380 Sweet Lorraine and he was musical director for 00:17:52.380 --> 00:17:55.160 the 50th Academy Awards in 78. His only time 00:17:55.160 --> 00:17:57.140 doing that prestigious gig. Still contributing 00:17:57.140 --> 00:17:59.700 to Sinatra albums like Trilogy and She Shot Me 00:17:59.700 --> 00:18:02.039 Down into the early 80s. And that final time 00:18:02.039 --> 00:18:04.619 working together conducting for Sinatra at Reagan's 00:18:04.619 --> 00:18:08.339 inaugural gala in January 85. A very public capstone. 00:18:08.480 --> 00:18:10.619 And a final project with Ella Fitzgerald too, 00:18:10.720 --> 00:18:13.650 right? The best is yet to come in 1982. Her last 00:18:13.650 --> 00:18:16.569 orchestral album on Pablo Records. It underscores 00:18:16.569 --> 00:18:19.809 that enduring respect. Even as trends changed, 00:18:20.190 --> 00:18:23.210 the legend still trusted him implicitly to provide 00:18:23.210 --> 00:18:25.890 the perfect setting, his standard held. Which 00:18:25.890 --> 00:18:28.009 sets the stage for maybe the most unexpected 00:18:28.009 --> 00:18:31.730 chapter of all, the comeback. Absolutely. Spring 00:18:31.730 --> 00:18:36.430 1982, Linda Ronstadt. huge rise star reaches 00:18:36.430 --> 00:18:39.390 out via her manager, Peter Asher. She wants Nelson 00:18:39.390 --> 00:18:41.369 Riddle to arrange an album of jazz standards 00:18:41.369 --> 00:18:44.230 for her. Just wild. A radical idea for a rock 00:18:44.230 --> 00:18:46.470 singer back then. The music world must have been 00:18:46.470 --> 00:18:48.650 stunned. Completely. And Riddle himself was skeptical, 00:18:48.829 --> 00:18:50.730 wasn't he? Very. He knew her name, obviously, 00:18:50.910 --> 00:18:52.769 but apparently basically hated rock and roll. 00:18:53.089 --> 00:18:55.710 Wasn't exactly her target demographic. No. But 00:18:55.710 --> 00:18:58.410 that great anecdote about his daughter, a Ronstadt 00:18:58.410 --> 00:19:00.430 fan, reassuring him. Don't worry, Dad, her checks 00:19:00.430 --> 00:19:03.630 won't bounce. Just perfect. Humanizes the whole 00:19:03.630 --> 00:19:06.509 thing. Practical considerations. It does. But 00:19:06.509 --> 00:19:08.650 once he considered it seriously, he brought his 00:19:08.650 --> 00:19:11.509 full artistic integrity to bear. He insisted. 00:19:12.410 --> 00:19:15.309 A complete album or nothing. And gave that great 00:19:15.309 --> 00:19:17.789 reason comparing a single arrangement in a rock 00:19:17.789 --> 00:19:21.240 album to putting a picture in a bad frame. The 00:19:21.240 --> 00:19:24.259 mood has to be consistent. Exactly. It shows 00:19:24.259 --> 00:19:27.079 his commitment to thematic coherence. He wasn't 00:19:27.079 --> 00:19:29.980 just arranging songs. He was building an atmosphere, 00:19:30.220 --> 00:19:33.099 a whole sonic world. He needed the entire gallery, 00:19:33.299 --> 00:19:35.579 not just one framed picture. And that commitment 00:19:35.579 --> 00:19:38.920 paid off spectacularly, despite skepticism even 00:19:38.920 --> 00:19:41.619 from her record label, President Joe Smith. Who 00:19:41.619 --> 00:19:44.859 feared alienating her rock fans with what Ronstadt 00:19:44.859 --> 00:19:47.359 herself called elevator music. They got a three 00:19:47.359 --> 00:19:50.359 album contract. And those albums, What's New, 00:19:50.660 --> 00:19:53.519 Lush Life? For sentimental reasons. Sold over 00:19:53.519 --> 00:19:55.880 7 million copies combined. It wasn't just a success. 00:19:55.900 --> 00:19:59.019 It was a phenomenon. A truly game -changing collaboration. 00:19:59.460 --> 00:20:02.339 Redefined careers, bridged genres, changed music 00:20:02.339 --> 00:20:04.859 history. It's incredible. Absolutely. It revitalized 00:20:04.859 --> 00:20:07.380 Ronstadt's career, gave her a new direction, 00:20:07.700 --> 00:20:10.119 and brought Riddle roaring back into the spotlight 00:20:10.119 --> 00:20:12.400 for his final years. And won him two more Grammys, 00:20:12.539 --> 00:20:15.920 What's New and Lush Life. Right. The third one, 00:20:15.980 --> 00:20:18.960 for Lush Life, awarded posthumously. accepted 00:20:18.960 --> 00:20:21.900 by Ronstadt with that moving tribute. But the 00:20:21.900 --> 00:20:24.779 impact was even bigger than sales or awards. 00:20:25.039 --> 00:20:27.579 Stephen Holden at the New York Times called What's 00:20:27.579 --> 00:20:30.240 New the best and most serious attempt to rehabilitate 00:20:30.240 --> 00:20:33.339 an idea of pop that Beatlemania undid in the 00:20:33.339 --> 00:20:36.480 mid 60s. That's huge. He's talking about how 00:20:36.480 --> 00:20:39.059 rock had pushed the great American songbook Porter 00:20:39.059 --> 00:20:41.859 Gershwin Kern to the margins. Relegated it to 00:20:41.859 --> 00:20:44.640 easy listening. Exactly. What's New was the first 00:20:44.640 --> 00:20:47.900 album by a major rock singer to bring that songbook 00:20:47.900 --> 00:20:50.180 back to the forefront commercially of a massive 00:20:50.180 --> 00:20:53.140 cultural reevaluation. A profound legacy. Bridging 00:20:53.140 --> 00:20:55.859 generations, proving timeless songs and sophisticated 00:20:55.859 --> 00:20:58.119 arrangements could still captivate a contemporary 00:20:58.119 --> 00:21:00.519 audience. It opened doors for so many others. 00:21:00.759 --> 00:21:03.619 All thanks to Riddle's exquisite work and Ronstadt's 00:21:03.619 --> 00:21:06.119 brave vision. And Riddle had that powerful final 00:21:06.119 --> 00:21:08.000 public appearance conducting at the presidential 00:21:08.000 --> 00:21:11.640 inaugural gala in January 85. Sinatra singing, 00:21:11.920 --> 00:21:14.660 Baryshnikov dancing. Quite a moment. And one 00:21:14.660 --> 00:21:17.000 last major project, arranging for opera singer 00:21:17.000 --> 00:21:19.920 Kiritokanawa just months before his death, creating 00:21:19.920 --> 00:21:22.880 right to the very end. He really did. A life 00:21:22.880 --> 00:21:25.240 dedicated to the art form. And beyond the music, 00:21:25.359 --> 00:21:27.960 there was a full personal life too. Mary Doreen 00:21:27.960 --> 00:21:30.519 Moran back in 1945. Well, still in the army, 00:21:30.680 --> 00:21:33.799 yeah. They had seven children together. Nelson 00:21:33.799 --> 00:21:37.799 III, Maureen, Christopher, Rosemary, Leonora, 00:21:38.119 --> 00:21:40.839 who died young, Cecily, and Bettina. A big family. 00:21:41.019 --> 00:21:43.779 And his eldest son, Nelson III, married Paula 00:21:43.779 --> 00:21:46.619 Wilcox, the British actress. Right. But like 00:21:46.619 --> 00:21:49.240 many lives, it had complexities. The affair with 00:21:49.240 --> 00:21:51.440 Rosemary Clooney in the 60s. Which contributed 00:21:51.440 --> 00:21:54.000 to the breakup of both their marriages. Adds 00:21:54.000 --> 00:21:56.079 that human dimension, the struggles behind the 00:21:56.079 --> 00:21:58.700 scenes. Definitely. He and Doreen separated in 00:21:58.700 --> 00:22:02.640 68, divorced in 70. He then married his secretary, 00:22:03.019 --> 00:22:05.230 Naomi Tenenholz. later that year. And they were 00:22:05.230 --> 00:22:07.509 together for the rest of his life, finding stability 00:22:07.509 --> 00:22:10.329 later on. It seemed so. He passed away in LA 00:22:10.329 --> 00:22:15.309 October 6, 1985, age 64. Cardiac and kidney failure 00:22:15.309 --> 00:22:17.549 due to cirrhosis, diagnosed five years earlier. 00:22:17.930 --> 00:22:20.410 Buried at Hollywood Forever Cemetery. A fitting 00:22:20.410 --> 00:22:23.569 place. But the legacy didn't stop. His son Christopher. 00:22:23.789 --> 00:22:25.789 An accomplished bass trombonist himself, yeah. 00:22:26.230 --> 00:22:28.269 He took over leadership of his father's orchestra 00:22:28.269 --> 00:22:31.400 in 86. Keeping that sound alive, authentically 00:22:31.400 --> 00:22:33.740 performed. Exactly. Preserving the integrity, 00:22:33.880 --> 00:22:36.240 the spirit of those arrangements for live audiences. 00:22:36.759 --> 00:22:39.279 It's a wonderful continuation. And then the educational 00:22:39.279 --> 00:22:42.539 legacy. After his second wife Naomi died, their 00:22:42.539 --> 00:22:44.859 house sale funded. The Nelson Riddle Endowed 00:22:44.859 --> 00:22:47.059 Chair and Library at the University of Arizona 00:22:47.059 --> 00:22:50.420 opened in 2001, fostering future generations 00:22:50.420 --> 00:22:53.160 of arrangers and orchestrators. With Linda Ronstadt 00:22:53.160 --> 00:22:55.859 performing at the opening gala, such a perfect 00:22:55.859 --> 00:22:58.660 full circle. Beautiful, isn't it? Yeah. And the 00:22:58.660 --> 00:23:02.119 tributes kept coming. Eric Kunzel and the Cincinnati 00:23:02.119 --> 00:23:05.460 Pops did that tribute album Route 66, that Nelson 00:23:05.460 --> 00:23:07.839 Riddle sound. Showcasing expanded versions of 00:23:07.839 --> 00:23:10.160 his arrangements, still inspiring people. And 00:23:10.160 --> 00:23:12.539 even TV shows like New Heart, which he scored, 00:23:12.839 --> 00:23:15.480 dedicated an episode to him. His sound is just 00:23:15.480 --> 00:23:17.960 woven into the fabric of American culture. So 00:23:17.960 --> 00:23:19.960 we've really covered a lot from that initial 00:23:19.960 --> 00:23:22.460 Ravel inspiration, the mentorships, those huge 00:23:22.460 --> 00:23:25.160 partnerships with Sinatra, Cole, Ella. To the 00:23:25.160 --> 00:23:28.269 iconic film and TV scores Batman included. And 00:23:28.269 --> 00:23:30.490 then that incredible Ronstadt collaboration, 00:23:30.690 --> 00:23:33.009 changing the game all over again. He wasn't just 00:23:33.009 --> 00:23:35.930 an arranger, was he? He truly was an architect 00:23:35.930 --> 00:23:40.049 of sound, meticulously building these sonic landscapes. 00:23:40.109 --> 00:23:42.490 Absolutely. Elevating every performance he touched, 00:23:42.910 --> 00:23:45.250 leaving this indelible mark. So what's the big 00:23:45.250 --> 00:23:48.180 takeaway for you listening today? I think Riddle's 00:23:48.180 --> 00:23:50.380 story is a powerful reminder, isn't it, that 00:23:50.380 --> 00:23:52.740 real artistry often happens just outside the 00:23:52.740 --> 00:23:54.880 spotlight. Yeah, in the skilled hands shaping 00:23:54.880 --> 00:23:58.119 the performance. It's about dedication, adaptability, 00:23:58.259 --> 00:24:01.140 the power of collaboration across genres and 00:24:01.140 --> 00:24:02.940 generations. And that you can keep redefining 00:24:02.940 --> 00:24:05.660 your impact, evenly in your career. Sometimes 00:24:05.660 --> 00:24:08.319 the biggest influence comes from being that master 00:24:08.319 --> 00:24:11.640 behind the scenes. That quiet genius underpinning 00:24:11.640 --> 00:24:14.039 it all. So maybe a final thought. The next time 00:24:14.039 --> 00:24:16.980 you hear a classic standard or even a newer artist 00:24:16.980 --> 00:24:19.539 tackling the great American songbook, listen 00:24:19.539 --> 00:24:22.880 closely. Can you hear those echoes? That Nelson 00:24:22.880 --> 00:24:25.339 Riddle genius, still guiding the melody, still 00:24:25.339 --> 00:24:27.640 defining that sound. And maybe ask yourself, 00:24:28.259 --> 00:24:30.359 who are the Nelson Riddles of today? Who are 00:24:30.359 --> 00:24:32.700 the overlooked masters shaping the music you 00:24:32.700 --> 00:24:34.940 love just out of the spotlight, waiting for their 00:24:34.940 --> 00:24:35.740 own deep dive?