The renowned and beloved composer, Burt Bacharach, has passed away at the age of 94. He was known for his unique musical arrangements and timeless melodies in hit songs such as “Walk on By,” “Do You Know the Way to San Jose,” and many others.
Bacharach died at his home in Los Angeles from natural causes, according to his publicist Tina Brausam. Over the course of 70 years, he became one of the few musicians who could rival the brilliance of Lennon-McCartney and Carole King in creating instantly recognizable and memorable songs.
He achieved a series of top 10 hits from the 1950s to the 21st century, and his music could be heard everywhere, from movies and radios to home stereo systems and iPods, including classics like “Alfie,” “I Say a Little Prayer,” “I’ll Never Fall in Love Again,” and “This Guy’s in Love with You.”
Bacharach was a Grammy, Oscar, and Tony award winner, and his music will continue to be enjoyed and remembered by millions of fans around the world.
Dionne Warwick was his favorite interpreter, but Bacharach, usually in tandem with lyricist Hal David, also created prime material for Aretha Franklin, Dusty Springfield, Tom Jones and many others. Elvis Presley, the Beatles and Frank Sinatra were among the countless artists who covered his songs, with more recent performers who sung or sampled him including White Stripes, Twista and Ashanti. “Walk On By” alone was covered by everyone from Warwick and Isaac Hayes to the British punk band the Stranglers and Cyndi Lauper.
Bacharach was both an innovator and throwback, and his career seemed to run parallel to the rock era. He grew up on jazz and classical music and had little taste for rock when he was breaking into the business in the 1950s. His sensibility often seemed more aligned with Tin Pan Alley than with Bob Dylan, John Lennon and other writers who later emerged, but rock composers appreciated the depth of his seemingly old-fashioned sensibility.
“The shorthand version of him is that he’s something to do with easy listening,” Elvis Costello, who wrote the 1998 album “Painted from Memory” with Bacharach, said in a 2018 interview with The Associated Press. “It may be agreeable to listen to these songs, but there’s nothing easy about them. Try playing them. Try singing them.”
A box set, “The Songs of Bacharach & Costello,” is due to come out March 3.
He triumphed in many artforms. He was an eight-time Grammy winner, a prize-winning Broadway composer for “Promises, Promises” and a three-time Oscar winner. He received two Academy Awards in 1970, for the score of “Butch Cassidy and the Sundance Kid” and for the song “Raindrops Keep Fallin’ on My Head” (shared with David). In 1982, he and his then-wife, lyricist Carole Bayer Sager, won for “Best That You Can Do,” the theme from “Arthur. His other movie soundtracks included “What’s New, Pussycat?”, “Alfie” and the 1967 James Bond spoof “Casino Royale.”
Bacharach was well rewarded, and well connected. He was a frequent guest at the White House, whether the president was Republican or Democrat. And in 2012, he was presented the Gershwin Prize by Barack Obama, who had sung a few seconds of “Walk on By” during a campaign appearance.
In his life, and in his music, he stood apart. Fellow songwriter Sammy Cahn liked to joke that the smiling, wavy-haired Bacharach was the first composer he ever knew who didn’t look like a dentist. Bacharach was a “swinger,” as they called such men in his time, whose many romances included actor Angie Dickinson, to whom he was married from 1965-80, and Sager, his wife from 1982-1991.
Married four times, he formed his most lasting ties to work. He was a perfectionist who took three weeks to write “Alfie” and might spend hours tweaking a single chord. Sager once observed that Bacharach’s life routines essentially stayed the same — only the wives changed.
It began with the melodies — strong yet interspersed with changing rhythms and surprising harmonics. He credited much of his style to his love of bebop and to his classical education, especially under the tutelage of Darius Milhaud, the famed composer. He once played a piece for piano, violin and oboe for Milhaud that contained a melody he was ashamed to have written, as 12-point atonal music was in vogue at the time. Milhaud, who liked the piece, advised the young man, “Never be afraid of the melody.”
“That was a great affirmation for me,” Bacharach recalled in 2004.
Bacharach was essentially a pop composer, but his songs became hits for country artists (Marty Robbins), rhythm and blues performers (Chuck Jackson), soul (Franklin, Luther Vandross) and synth-pop (Naked Eyes). He reached a new generation of listeners in the 1990s with the help of Costello and others.
Mike Myers would recall hearing the sultry “The Look of Love” on the radio and finding fast inspiration for his “Austin Powers” retro spy comedies, in which Bacharach made cameos.
Throughout the 21st century, Burt Bacharach continued to push musical boundaries by writing his own lyrics and collaborating with rapper Dr. Dre.
Bacharach was married four times in his life, first to Paula Stewart from 1953-58 and then to Jane Hansen in 1993. He is survived by his fourth wife Hansen, and his children Oliver, Raleigh, and Cristopher. He was preceded in death by his daughter with Dickinson, Nikki Bacharach.
Despite reaching the pinnacle of musical success, Bacharach viewed himself as a lone individual growing up. As a short and self-conscious child, he struggled with his Jewish identity to the point of taunting other Jews. One of his favorite books as a child was Ernest Hemingway’s “The Sun Also Rises,” where he identified with the sexually impotent character Jake Barnes, feeling “socially impotent” himself.
Bacharach was born in Kansas City, Missouri, but soon moved to New York City. His father was a syndicated columnist and his mother was a pianist who encouraged him to pursue music. Although he was more interested in sports, he practiced piano daily after school to fulfill his mother’s wish. He even sneaked into jazz clubs using a fake ID to listen to legends such as Dizzy Gillespie and Count Basie while he was still a minor.
“They were just so incredibly exciting that all of a sudden, I got into music in a way I never had before,” he recalled in the memoir “Anyone Who Had a Heart,” published in 2013. “What I heard in those clubs turned my head around.”
He was a poor student, but managed to gain a spot at the music conservatory at McGill University in Montreal. He wrote his first song at McGill and listened for months to Mel Torme’s “The Christmas Song.” Music also may have saved Bacharach’s life. He was drafted into the Army in the late 1940s and was still on active duty during the Korean War. But officers stateside soon learned of his gifts and wanted him around. When he did go overseas, it was to Germany, where he wrote orchestrations for a recreation center on the local military base.
After his discharge, he returned to New York and tried to break into the music business. He had little success at first as a songwriter, but he became a popular arranger and accompanist, touring with Vic Damone, the Ames Brothers and Stewart, his eventual first wife. When a friend who had been touring with Marlene Dietrich was unable to make a show in Las Vegas, he asked Bacharach to step in.
The young musician and ageless singer quickly clicked and Bacharach traveled the world with her in the late 1950s and early ’60s. During each performance, she would introduce him in grand style: “I would like you to meet the man, he’s my arranger, he’s my accompanist, he’s my conductor, and I wish I could say he’s my composer. But that isn’t true. He’s everybody’s composer … Burt Bacharach!”
Meanwhile, he had met his ideal songwriter partner — David, as businesslike as Bacharach was mercurial, so domesticated that he would leave each night at 5 to catch the train back to his family on Long Island. Working in a tiny office in Broadway’s celebrated Brill Building, they produced their first million-seller, “Magic Moments,” sung in 1958 by Perry Como. In 1962, they spotted a backup singer for the Drifters, Warwick, who had a “very special kind of grace and elegance,” Bacharach recalled.
The trio produced hit after hit. The songs were as complicated to record as they were easy to hear. Bacharach liked to experiment with time signatures and arrangements, such as having two pianists play on “Walk on By,” their performances just slightly out of sync to give the song “a jagged kind of feeling,” he wrote in his memoir.
The Bacharach-David partnership ended with the dismal failure of a 1973 musical remake of “Lost Horizon.” Bacharach became so depressed he isolated himself in his Del Mar vacation home and refused to work.
“I didn’t want to write with Hal or anybody,” he told the AP in 2004. Nor did he want to fulfill a commitment to record Warwick. She and David both sued him.
Bacharach and David eventually reconciled. When David died in 2012, Bacharach praised him for writing lyrics “like a miniature movie.”
Meanwhile, Bacharach kept working, vowing never to retire, always believing that a good song could make a difference.
“Music softens the heart, makes you feel something if it’s good, brings in emotion that you might not have felt before,” he told the AP in 2018. “It’s a very powerful thing if you’re able to do to it, if you have it in your heart to do something like that.”
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