Neal Hefti, whose renown as a forward-looking composer and arranger for Woody Herman and Count Basie was probably overwhelmed forever after he went to Hollywood and wrote the theme for the 1960’s television show “Batman,” and for the movie and television versions of “The Odd Couple,” died Saturday at home in Toluca Lake, Calif. He was 85.
Mr. Hefti, left, with Frank Sinatra, during a 1961 recording session.
Batman Theme
Odd Couple Theme
"Cute"
He died suddenly from an undetermined cause, his son, Paul, said. Mr. Hefti’s death was first reported in a blog posting by a friend, the singer Nancy Sinatra, on the website www.sinatrafamily.com.
The Jazz Scene
Repetition - Neal Hefti Orchestra - Charlie Parker (as)
Recorded at NYC,1947 Cref Records
One of the serendipitous highlights of his work in the late forties was the recording of his Cuban-influenced song "Repetition" using a big band and string orchestra, for an anthology album called The Jazz Scene intended to showcase the best jazz artists around at that time. What saved this otherwise uncharacteristically bland arrangement was the featuring of Charlie Parker as soloist. Hefti had written the piece with no soloist in mind, but Parker was in the studio while Hefti was recording, heard the arrangement, and asked to be included as soloist. In the liner notes to the album, producer Norman Granz wrote:
Parker actually plays on top of the original arrangement; that it jells as well as it does is a tribute both to the flexible arrangement of Hefti and the inventive genius of Parker to adapt himself to any musical surrounding. [5]
Over the years, Mr. Hefti, first known as a jazz trumpeter in the 1940s and 1950s, was much admired and much in demand as an arranger, conductor and occasional record producer; he worked with Frank Sinatra, Doris Day, Mel Tormé and Tony Bennett, among others. He also led his own bands, and he was active as a player until 1960.
But his greatest sphere of influence was as an arranger and composer for other jazz artists. His early travels with jazz bands took him to New York, where he was mesmerized by the bebop playing of Dizzy Gillespie, and joined the Herman band — known as First Herd — in 1944. He was influential in moving that band from its swing roots in the direction of bebop.
He spent only two years with the Herd; when he left in 1946, he took the singer Frances Wayne, his new wife, with him. But by then he had created new arrangements for Herman’s compositions like “Woodchopper’s Ball” and “Blowin’ Up a Storm,” and composed tunes like “Apple Honey,” “Wild Root” and “The Good Earth.”
He toured with Harry James and he arranged tunes for Buddy Rich. Though he also toured and recorded with his own bands, sometimes with his wife, he never achieved real success as a bandleader. For him, the decade of the 1950’s was characterized by his association with the Basie band, for which he wrote perhaps his best known jazz tunes, including “Splanky,” “Little Pony,” “Li’l Darlin’,.” whose tempo Basie famously slowed down to a luscious and sensual crawl, and the perky “Cute.”
“If it wasn’t for Neal Hefti, the Basieband wouldn’t sound as good as it does,” Miles Davis said in 1955. “But Neal’s band can’t play those same arrangements nearly as well.”
Starting in the 1960s, Mr. Hefti found great success writing television and film scores. In addition to writing the theme for “The Odd Couple” (1968), which would be burned into the memories of baby boomers with the creation of the television series in 1970, he composed the scores for two other Neil Simon films, “Barefoot in the Park” (1967) and “Last of the Red Hot Lovers” (1972). His other film work included “Duel at Diablo” (1966), a brutal Western; Elaine May’s farce “A New Leaf” (1971), and the gleeful sex comedies “Sex and the Single Girl” (1964), “Boeing Boeing” (1965) and “How to Murder Your Wife” (1965).
There was a politically incorrect strain to Mr. Hefti’s work, possibly tongue-in-cheek; for the 1965 biographical film “Harlow,” he and Bobby Troupe wrote the bluesy, winkingly sexist tune, Girl Talk.” (For the same movie, Mr. Hefti wrote “Lonely Girl,” the Bobby Vinton hit.)
“He felt his true work was done for the movies and television,” Paul Hefti said in a telephone interview on Wednesday. What his father especially liked about writing for the screen, he said, was that he was not restricted by a band’s instrumentation, that he could write for whatever combo, for whatever musicians he wanted.
Oddly enough, his most famous tune is among his least musically interesting, even if it was somehow brilliantly apt: the jauntily arch and repetitive theme for the television series “Batman.” Mr. Hefti said that the show was so campy it took him weeks to come up with a suitable melody. It won him his only Grammy.
Neal Paul Hefti was born in Hastings, Neb., on Oct. 29, 1922. He received a trumpet as a Christmas present when he was 10 years old; according to family lore, his mother encouraged him to play so that, if he were drafted, he would be in the band and not the infantry. By the time he was out of high school, he was arranging and playing for local bands in order to contribute to the household. He saw Count Basie and Dizzy Gillespie play when they passed through nearby Omaha before he ever saw them in New York.
His wife died in 1978; a daughter died in 1997. In addition to his son, also of Toluca Lake, Mr. Hefti is survived by a brother, Joe, of Pensacola, Fla.; a sister, Pat Wacha, of Clarkson, Neb.; and three grandchildren.
“He told me he tore up more paper on ‘Batman’ than on any other work he ever did,” Paul Hefti said. “He had to find something that worked with the lowest common denominator, so it would appeal to kids, yet wouldn’t sound stupid. What he came up with was a 12-bar blues with a guitar hook and one word.”
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