Interview: Russ Garcia (Part 3)

After interviewing legendary composer and arranger Russ Garcia by phone last week, I happened upon the photo you see above. It was taken in 1952. The more I looked at the image, the more the older gentleman to Russ' right looked familiar. I thought to myself, "It couldn't be, could it?" So I typed "Russell Garcia + Charlie Chaplin" into Google. Up came an interview from 1985, in which Russ was quoted as saying that he was the one who had written the arrangement for Chaplin's Limelight (1952).

Stunned that this topic never came up in my series of conversations with Russ, I clicked over to the Internet Movie Database, the granddaddy of film websites, and called up Limelight. There I found Russ' name along with someone named Larry Russell listed as "uncredited" music arrangers. I also noticed that Limelight won an Oscar in 1972 for best original dramatic score.

So I went over to the site of the Academy of Motion Picture Arts and Sciences. There, I discovered that three Oscar statues for Limelight's score were awarded to Chaplin, Raymond Rasch (the credited arranger) and Larry Russell. Russ Garcia was not among the recipients.

How odd, I thought. Could the Academy have goofed? Why wasn't Russ included? What could have happened? Was there some confusion, given that  Russ' first name (Russell) and Larry's last name were identical? So I called Bruce Davis, executive director of the Academy. When I relayed what I learned to a member of his staff, I was told to call the next day for a comment. But on Wednesday, when I phoned back, I was told that Mr. Davis "would not have a comment but looked forward to reading my post."

So I called Russ for his side of the story. Russ was resistant at first, preferring to let sleeping Oscars lie. It's not in his gentle nature to rehash the past. But with a little coaxing, he told me about his work on Limelight, collaborating with Chaplin, his orchestration for the 65-piece studio symphony, how the Academy might have understandably erred when the 1972 Oscars were handed out, and why Russ has resisted talking about it until now:

JazzWax: Did you arrange Limelight?
Russ Garcia: Yes. I worked with Charlie Chaplin on it. He played the movie's theme when I was over his house with one finger on the piano. Then I scored the theme and composed and arranged the film's incidental music. I also was in the engineer’s booth when it was recorded.

JW: Why weren’t you credited originally as the score’s sole arranger?
RG: That credit went to Charlie. It was his film. I worked anonymously on hundreds of movies that I never got credit for. You have to understand, that's how it worked. And probably still does. In the case of Limelight, Charlie was the creative force on all aspects of this film, from directing, writing and acting to the music. While he composed the film's theme, he obviously didn't know how to arrange for a symphony-sized orchestra. Neither did Ray Rasch, Charlie’s piano player, an arranger and a friend of mine.

JW: Who was Larry Russell?
RG: He was a composer and movie arranger, and a good one. He also was a nice guy.

JW: What role did he play on Limelight?
RG: None, I’m afraid. He had nothing to do with the picture. 

JW: Who recommended you for the job?
RG: I was working in the Hollywood studios at the time and knew Ray [Rasch]. So Ray must have told Charlie about me. At the time, I was already known for being able to write for large-size orchestras and do so fairly quickly. Chaplin had already worked through the theme with Ray when I was first called over to his house.

JW: What was Charlie like?
RG: He was wonderful, a real talent. At one point, Ray told me Charlie had said to him, "Ray, why don't you score this film? I've written all the melodies, why don't you score it?" Ray agreed but he didn’t know how to do it for such a symphony. So he called me in to work on it. I orchestrated the score, which is what you hear when you watch the movie. 

JW: You also mentioned composing the incidental or background music.
RG: I had to do a lot of composing based on Chaplin's single theme. When I first went over to his house, Chaplin played the theme on the piano and I had to write it down. There was no written music.

JW: Was it improvised on the spot?
RG: Oh, no. Charlie clearly had thought it out in advance. From there I had to build music for an entire movie, and time the music so it was in sync with what was up on the screen.

JW: Was Chaplin funny?
RG: Funny? He wasn’t dressed like a tramp or clowning when we were working together. [laughs] But he was a gentleman. He had the music he wanted planned in his head. The guy was a genius. He could do it all—the ballet steps, the choreography, every camera angle, the script, and the musical theme. Charlie was a perfectionist. He knew what he wanted, and he’d get it, too.

JW: Did you conduct the orchestra?
RG: No. Charlie had a conductor named Keith Williams.

JW: Did you score the film while it was in production or upon completion?
RG: I believe I had to wait until it was done. Remember, they used to shoot every scene in those days with a long shot, medium shot and close up. The film's editor then would edit the film from these shots. So from the scoring perspective, you don’t know how long scenes are going to be until they're pieced together.

JW: Who has the score now?
RG: I don't know. I suspect the studio archive or Chaplin’s estate.

JW: Is your name on the score?
RG: It might have been. I had score pads with my name embossed on them. Or I could have been using score pads that Chaplin’s studio gave me. Given that the Academy didn't know who wrote the score when they researched it, probably not.

JW: How do you think this mix-up occurred?
RG: From what I understand, the Academy wanted to give Chaplin an Oscar to recognize his work on the film while he was still alive.

[Editor's note: Limelight's score was nominated for an Oscar 20 years after it was completed because the film wasn't released in the U.S. until 1972. In 1953, after the movie's London premier, the Justice Department began investigating Chaplin's "subversive tendencies," and pressure was placed on U.S. theaters not to show it. The investigation caused Chaplin to relocate to Switzerland. He died in 1977.]

JW: How do you think they went about doing that?
RG: From what I understand, when the Academy asked Chaplin, "Who arranged the music?," he told them Ray Rasch. When they went to Ray’s widow and asked who else arranged the score, she said, "Someone named Russell.” The only person who came to their minds was Larry Russell, who also was a film arranger. But Larry, too, had passed away, and when they asked his widow if he had scored it, she said yes, he must have. So Oscars were given to Larry and Ray posthumously along with Charlie. Actually, I'm not that comfortable talking about this because I don't want to make trouble for anyone or spoil anyone’s fond thoughts or memories.

JW: Understood, but setting the record straight is important. What happened after the Oscar was awarded?
RG: The next day my phone in New Zealand rang off the hook. Keith Williams, the conductor of the Limelight score, called to apologize. So did Larry Russell’s son. I'm not sure why everyone was sorry after the award was given. Maybe they didn't realize my role until those who were actually there started talking. I don't know. I'm sure it didn't help that I lived so far away.

JW: Did you ever call the Academy to make a fuss?
RG: Goodness, no. I’m a Baha'i. It’s part of my faith never to be the source of grief to anyone. I didn't want Larry's widow or family or anyone to feel bad. I still don't. I've won plenty of awards. I just forgot about it.

JW: Are you upset by what happened?
RG: Me? [laughs] Of course not. I know that I arranged the score for the film. And so do those who were there and those who have spoken to those who know. At my age, 92, I'm more focused on moving forward.

Comments

[Bob Curtin]

I hope the Academy does the right thing by Russ Garcia.

Bob

[Red Colm O'Sullivan]

What a wonderful man! And true giant of music...
Red (Ireland).

[LizKauai]

Thank you for this article. I had the good fortune of working with Mr. Garcia in Hawaii back in the 70's and have added my voice to yours in singing his praises and urging the Academy to recognize him asap.

[RetroRichardInChina]

Gee, if LizKauai can add her voice, I'll chime in too. In Hawai'i, New York, Samoa and Europe I've had the pleasure of singing for Russ with and without dinner. Few things in this life have given more pleasure or satisfaction than that of knowing and working with this genuine Maestro. Many thanks to Marc Myers for his dedication to clearing up an old injustice.

[Jeff Morgan]

Deaer Mr. Myers: Someone alerted me today to your Sept 08 interview with Russell Garcia regarding Limelight. I am Larry Russell's daughter. Over the years, I have run across Mr. Garcia's claims regarding his alleged work on Limelight and his claim that my father had nothing to do with it and I am, frankly, appalled. My father worked very closely with Ray Rasch every day for months at our house in Laurel Canyon. Ray would meet each morning with Chaplin, then come directly to my father, since Ray had never scored anything in his life. I have no idea who Mr. Garcia is, but I can tell you, that I have personal knowledge of my father's work on Limelight - I was there when Ray came to our house every day. You may or may not know, that my father composed the standard Vaya Con Dios (which, incidentally was recorded by Anita O'Day, another person who Mr. Garcia claims to know.) Perhaps you should ask Mr. Garcia if he also wrote Vaya Con Dios? As for his claim that one of my three brothers called him to apologize about our father being awarded the Oscar, this is unadulterated hogwash - I just find it so interesting that Mr. Garcia continues to lay claim to my father's work - perhaps because he knows that my father passed away at the age of 41, (in 1954) that his widow, Inez James, (another author of Vaya Con Dios) has now passed away, that Ray Rasch is gone, that Charlie Chaplin has died - (and oh yes, Anita O'Day is gone too) --so convenient that there is no living person to refute his allegations. But, rest assured, I am still here and so are two of my brothers, Gordon and George, and we will continue to urge all of you to check your facts a little more.

Linda Russell Morgan

[Ron Pulliam]

Funny how someone who was a musician and has a photo of himself working with Chaplin should be disrespected so vehemently by an alleged member of Larry Russell's family when she has nothing to offer as proof on her own part. I believe Mr. Garcia...after all, he said nothing ugly or disrespectful at all about Mr. Russell.

I've HEARD of Russell Garcia...and he certainly has no need to steal any thunder from Larry Russell, of whom I've heard nothing until now.

[BC]

I see there is some controversy but maybe both deserve the award if they worked with Chaplin in different frames. No disrespect to either man but it does lower the Academy's reputation for not addressing this pretty obvious oversight. Of course, I do understand that redressing this oversight may open other controversies so that is probably why the Academy hopes this will problem will go away.

[Andy Atwill]

Part of being a good arranger and composer is to disseminate a wide variety of works from a wide variety of arrangers and composers.

The learning process means the ARRANGERS and COMPOSERS have their own unique style.
Arrangers can recognise

SUMMARY:
Russell Garcias style is his own as is Quincy Jones, Hank Mancini, Nelson Riddle, John Williams, Ennio Morricone etcetera..

Get the LIVING ones that the incorrect recipient so casually deprecates Mr.Garcia where Mr.Garcia does no such thing.

As John Williams I KNOW he is very familiar with Mr.Garcias work as he studied it.
John Williams is more well known as a film Arranger and composer than anyone.

I do however find it insulting someone who is known for his integrity and lack of Hypocrisy to be called a Cahrlatan by someone who truly does not understand that like carbon dating, a good arranger can recognise IMMEDIATELY who another arranger and composer is.

[Andy Atwill]

Dear Ms. Linda Russell Morgan

As for claiming to know Anita O'Day, Mr.Garcia recorded with 4 trombones a very respected piece of work by Ms.Anita O'Day.
He neither vilifies you or any member of your family and certainly not your father which you seem to be "Methinks though doth protest too much".

On Louis Armstrong and Ella Fitzgeralds "Porgy & Bess" album is a picture of him with them. Unlike a comment that has been made that the picture of him was doctored my suggestion is you get your facts right.

Mr.Garcias books are taught in every major Jazz institution and place where "How to arrange" is taught. While part of me would like to respond in kind to you in regard to the levels of respect Mr.Garcia has worldwide, not only for his skills, but especially for his demeanor, I will not lower myself by making a comparison to your father whom I am sure would not do the same to Mr.Garcia either.
To be honest, I have never heard of your father and I am on the other side of the world, but I have heard and studied Mr.Garcia's works and some of his students and peers works.

If you knew the condition Charlie Chaplin was in at the time he said only one word when asked who did the work - "Russell" - you may be lateral enough to realise that a person a t that stage of their life in their condition may have been wrong about both of them? Have you considered this?
For all we know "Joe the Plumber" might have come out of his mouth if in the wrong headspace at the time of questioning.

It is NOT Mr.Garcia that is pursuing this, it is people that know that Mr.Garcia will not and does not and simply want to see him get credit for the work he has done.

If you so succinctly purvey a knowledge of the arts, then you would know about "Ghost-Writing" as well was and sometimes is still a common practice. In this case, NOBODY wishes to see your father or any member of your family discredited at all, yet you have become defensive as if it is just that.
All anyone wants is to see credit where it is CORRECTLY due.

If the situations were reversed, what I do know of Mr/Garcia is HE WOULD NOT ACCEPT THE OSCAR unless he had done the work.

Therein lies the largest most notable difference.

He has integrity.

[Lancekoz55]

I am Ray Rasch's nephew. Unfortunately, I don't have any information to add to this debate, but I am intrigued to see these people who may have known my uncle discussing this project all these years later. If anyone has anecdotes about working with Ray or details about what this period of life was like for him, I would love to hear it. I can be reached at [email protected]