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Les Elgart
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Les Elgart
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Key Information

Lester Elliott Elgart (August 3, 1917 – July 29, 1995) was an American swing jazz bandleader and trumpeter.

Early years

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Born in New Haven, Connecticut, Elgart grew up in Pompton Lakes, New Jersey with his brother Larry.[1] They were exposed to musical influences early in their lives. Their mother, Bessie (Aisman) Elgart, was a concert pianist before her marriage to Arthur Elgart, a manufacturer's representative. She is said to have given a piano recital at Carnegie Hall, and at one time had her own music conservatory. At age 10, Les was attracted to bugling after joining the Cub Scouts. Later, he turned to the cornet, and then the trumpet.[2] Both brothers attended Pompton Lakes High School,[3] where Les was elected president of the school orchestra.[2] He was playing professionally by the age of twenty.

Career

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The First Band

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During the 1940s Les was a member of bands led by Raymond Scott, Charlie Spivak, and Harry James, occasionally finding himself alongside brother Larry. They formed their own orchestra in 1945, hiring Nelson Riddle, Ralph Flanagan, and Bill Finegan to write arrangements.[4] The band signed with General Amusement Corporation for bookings, and in May 1945, made recordings in New York City at a V-Disc session. None of these were issued, however.

This was a "sweet band" generally, and far removed from their swing style of a decade later. The band had a familiar Glenn Miller touch to its sound, only a slower tempo.[5]

In mid-1946, Les signed with Musicraft Records but the recordings never made the hit parade.[6] In October 1946, the band recorded a performance for Lang-Worth Transcriptions for radio broadcast.[7] The band performed at venues in New York and northern New Jersey for the next two years, and recorded two singles for Bullet Records in March 1948.[8] With the post-World War II decline in popularity of the big bands of the 30s and 40s, the Les Elgart Orchestra disbanded, and between 1949 and 1952, Les freelanced on record dates, worked in pick-up bands, and contracted for a few singers.[2]

The Elgart Sound

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In late 1952, Larry Elgart was working with fellow saxophonist Charles Albertine in the pit band for the Broadway play ‘’Top Banana’’. Larry said,[2]

We wondered if this was it . . . if this was what we had to do to make a living in the music business. But we knew it wasn’t. And that’s why Les, I and Charlie started a new band with the determination that it had to happen.

With $1,000, they gathered sidemen and recorded three demo tracks to shop the record labels. In April 1953, Columbia Records A&R executive George Avakian liked what he heard, and signed the band to the label.[9] ‘’Sophisticated Swing,’’ the band’s first album, was released that year. It enjoyed immediate success. The Elgart ensemble was lauded as "a new band with a handsome sound and smart arrangements."[10] The band came from nowhere to third place in the 1954 DownBeat Magazine popularity poll, behind the Les Brown Band and the Ray Anthony Orchestra.[11] Elgart displaced Anthony for second place in 1955 and again in 1956.[12]

Over the next three years, the band released a half dozen albums and enjoyed success on tour, with many appearances on college campuses. The band's unique blend of brass and reeds became known as “The Elgart Sound.”[13] The best selling albums were "The Elgart Touch" (1956) and "For Dancers Also" (1957), both of which reached the Top 15 on the LP charts. Among the band's popular tunes was "Bandstand Boogie", which was used by Dick Clark as the theme song for the ABC-TV dance show American Bandstand.[4]

The band's first stereo recording in 1957 reflected a name change to Les and Larry Elgart and Their Orchestra. After the 1958 release of “Sound Ideas,” however, the brothers parted ways, and Larry formed his own band.

The popularity of the Les Elgart Orchestra remained strong. The band took second place, again behind Les Brown, in the 1959 DownBeat poll.[14] In 1960, the band won the Cashbox Magazine award as the Most Programmed Band by America's Disc Jockeys, and the Billboard Magazine award as "America’s Favorite Band 1960 Outstanding Achievement in Recorded Music.”[15]

By the end of the decade, Les quit performing, preferring to handle the business aspects of the band.[4] Under several producers and arrangers, the band released eight more albums.[13]

Later years

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The brothers reunited again in 1963, hiring arrangers Charles Albertine and Bobby Scott. The Les and Larry Elgart Orchestra attempted to align itself with popular music trends such as folk ("Big Band Hootenanny" 1963) and disco ("Elgart Au Go-Go" 1965). Its remaining releases, arrangements of contemporary hits, could be categorized as easy listening. The band performed on the radio between 1964 and 1966, and appeared on a Jackie Gleason television special featuring big bands in November 1966.[13] Veteran Columbia Records producer Teo Macero produced the Elgarts' final three albums for the label. After 1967's The Wonderful World of Today’s Hits, Les and Larry parted again, this time for good.

In 1969, Larry was invited to London to make three records for Swampfire Records under the imprint of Les and Larry Elgart. The albums claimed a Nashville sound and bore no relationship to the Elgart Sound of the early 1950s.[16]

Les Elgart lived in Chicago for several years, and Santa Monica and Hollywood Hills on the West Coast. He returned to Chicago, then relocated to Miami, and San Antonio, Texas.[2] From his home in Dallas, Les continued to tour with his band, performing at colleges and conventions, and on cruises. In 1977 he married Joerene Ingram, who managed the band.[13] In 1987 Les Elgart traveled to Brazil at the invitation of Brazilian radio program producer and Elgart biographer Joaquim Gaspar Machado.[17]

Les continued to work until his death from heart failure, in Dallas, Texas, at age 77.[18]

Discography

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(All released on the Columbia label except where noted)

  • Sophisticated Swing CL-536 (1953)
  • Just One More Dance CL-594 (1954)
  • The Band of the Year CL-619 (1954)
  • The Dancing Sound CL-684 (1954)
  • For Dancers Only CL-803 (1955)
  • Prom Date (10" "House Party" Series) CL 2503 (1955)
  • The Elgart Touch CL-875 (1956)
  • The Most Happy Fella CL-904 (1956)
  • Campus Hop (10" "House Party" Series) CL 2578 (1956)
  • More of Les (10" "House Party" Series) CL 2590 (1956)
  • For Dancers Also CL-1008 (1957)
  • Les & Larry Elgart & Their Orchestra CL-1052 (1958)
  • Sound Ideas CL-1123/CS-8002 (1958)
  • Les Elgart On Tour CL-1291/CS-8103 (1959)
  • The Great Sound of Les Elgart CL-1350/CS-8159 (1959)
  • The Band with That Sound CL-1450/CS-8245 (1960)
  • Designs for Dancing CL-1500/CS-8291 (1960)
  • Half Satin Half Latin CL-1567/CS-8367 (1960)
  • It's De-Lovely CL-1659/CS-8459 (1961)
  • The Twist Goes to College CL-1785/CS-8585 (1962) (arrangements by George Williams)
  • Best Band on Campus CL-1890/CS-8690 (1962)
  • Big Band Hootenany CL-2112/CS-8912 (1963)
  • Command Performance CL-2221/CS-9021, (1964)
  • The New Elgart Touch CL-2301/CS-9101, (1965) (arrangements by George Williams)
  • Elgart au Go-Go CL-2355/CS-9155, (1965)
  • Sound of the Times CL-2511/CS-9311, (1966) (arrangements by Bobby Scott)
  • Warm and Sensuous CL-2591/CS-9391 (1966) (arrangements by Bobby Scott)
  • Girl Watchers CL-2633/CS-9433 (1967) (arrangements by Bobby Scott)
  • The Wonderful World of Today's Hits CL-2780/CS-9580 (1967) (arrangements by Bobby Scott)
  • Unforgettable Harmony HS 11288 (1968)
  • Greatest Hits CS-9722 (1970)
  • American Bandstand, Priam PR-218 (1981)
  • Nashville Country Piano, Swampfire SF-201 (1969)
  • Nashville Country Brass, Swampfire SF-202 (1969)
  • Nashville Country Guitars, Swampfire SF-203 (1969)
  • Nashville Country Sound: Bridge Over Troubled Water, Swampfire SF-207 (1970)

References

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Les Elgart

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Les Elgart is an American jazz trumpeter and bandleader known for his leadership of the Les and Larry Elgart Orchestra, which gained widespread popularity in the 1950s for its light, precise, and dance-oriented swing style that emphasized tight ensemble playing over improvisation. Born on August 3, 1917, in New Haven, Connecticut, Elgart began playing trumpet in his early teens and was performing professionally by age 20. He died on July 29, 1995, in Dallas, Texas. During the 1940s, Elgart worked as a sideman in prominent big bands led by Raymond Scott, Charlie Spivak, Harry James, and others, often alongside his younger brother Larry Elgart, an alto saxophonist. In 1945, the brothers formed their own ensemble, employing arrangers such as Nelson Riddle, Ralph Flanagan, and Bill Finegan, though the group disbanded after a few years due to the 1948 recording ban and shifting musical tastes. The Elgarts reunited in the early 1950s with arranger Charles Albertine, developing a distinctive sound featuring no piano, clipped brass, rich saxophones, and easy dance tempos that proved commercially successful on Columbia Records. Their 1953 album Sophisticated Swing marked their breakthrough, positioning the orchestra as a favorite for college proms and dancers during the decline of traditional swing. The band's hit "Bandstand Boogie" became the long-running theme for the television program American Bandstand, extending its cultural reach. By the late 1950s, Les Elgart largely shifted from performing to managing the band's business affairs, while the orchestra continued recording and touring, later incorporating contemporary pop influences. The brothers split in 1959 amid creative differences but reunited briefly in the 1960s before parting permanently, with Les occasionally leading his own groups thereafter. Elgart's work helped sustain big-band dance music into the rock era, blending swing traditions with a polished, accessible approach.

Early life

Family background and childhood

Les Elgart was born on August 3, 1917, in New Haven, Connecticut, to father Arthur Elgart, a manufacturer's representative, and mother Bessie (Aisman) Elgart, a former concert pianist who reportedly performed at Carnegie Hall and ran a music conservatory. The family later settled in Pompton Lakes, New Jersey, where Les grew up alongside his younger brother Larry Elgart, born March 20, 1922, in an environment influenced by their mother's musical background. As a child in Pompton Lakes, Les joined the Cub Scouts at age 10 and first learned to play the bugle through the scouting program, marking an early exposure to music within his family-oriented upbringing. This period reflected a stable childhood shaped by his parents' professional lives and the presence of his musically inclined younger brother.

Musical beginnings

Les Elgart grew up in a musical household shaped by his mother Bessie (Aisman) Elgart's pianistic background; she was a concert pianist before her marriage and is said to have performed at Carnegie Hall. This environment fostered early musical interest for Les and his brother Larry, who shared similar exposure to music in their formative years. He began his instrumental journey at age 10 after joining the Cub Scouts, where he took up the bugle. He later switched to the cornet before adopting the trumpet as his primary instrument. While attending Pompton Lakes High School, Les was elected president of the school orchestra, reflecting his leadership and proficiency among peers. By the age of 20, circa 1937, he had begun playing professionally, marking his entry into paid musical work.

Career

Sideman years

Les Elgart pursued a career as a professional trumpet player during the 1940s, serving as a sideman in prominent big bands amid the swing era's peak and the disruptions of World War II, when many musicians were drafted or performed for military audiences while civilian dance bands continued to operate. He performed in the trumpet sections of orchestras led by Raymond Scott, Charlie Spivak, Bunny Berigan, Harry James, and Hal McIntyre, occasionally sharing the stage with his brother Larry Elgart on saxophone. In 1939, Elgart secured the lead trumpet position in Bunny Berigan's orchestra, though the band dissolved in 1940 due to financial difficulties. He subsequently held lead trumpet roles in several other ensembles, including those of Charlie Spivak and Hal McIntyre. Charlie Spivak later praised him as "one of the best sidemen I ever had." During this period, Elgart briefly enlisted in the U.S. Navy in April 1942 but received a discharge the following month due to a physical disability, allowing him to continue his sideman work through the war years. These engagements reflected the broader employment landscape for big band musicians in the early to mid-1940s, where steady work remained available despite wartime shortages and travel restrictions, providing valuable experience before Elgart transitioned to leadership roles.

First orchestra with Larry (1945–1948)

In 1945, trumpeter Les Elgart and his brother, alto saxophonist Larry Elgart, formed their first orchestra after years of sideman work. They enlisted prominent arrangers Nelson Riddle, Ralph Flanagan, and Bill Finegan to develop charts for the ensemble. The band adopted a "sweet band" style reminiscent of Glenn Miller, emphasizing slower tempos and danceable melodies. The orchestra signed with the General Amusement Corporation for bookings and recorded for Musicraft Records in 1946, though these releases achieved no chart success. It also produced transcriptions for Lang-Worth in 1946 and released singles on Bullet Records in 1948. In May 1945, the band participated in a V-Disc session in New York City, but none of the recordings were issued. Despite these efforts, the orchestra struggled amid the postwar decline in big band popularity, combined with Musicians' Union issues and financial difficulties. The group disbanded in 1948, after which the brothers sold their arrangements to Tommy Dorsey.

Reformation and 1950s peak

The Les Elgart Orchestra was successfully reformed in late 1952 when Les reunited with his brother Larry and arranger Charles Albertine, who had collaborated with Larry in the pit band for the Broadway show Top Banana. Determined to create a viable big band in an era when such groups were declining, they invested $1,000 to assemble sidemen and record three demo tracks, which they shopped to labels. In April 1953, Columbia Records A&R executive George Avakian signed the band after being impressed by the material. Their debut album Sophisticated Swing followed later that year and met with immediate success, establishing the group's appealing, modernized sound. The band rose quickly in popularity, entering the DownBeat magazine poll at third place in 1954 (behind Les Brown and Ray Anthony), then climbing to second in both 1955 and 1956. Key albums fueled this ascent, including The Elgart Touch (1956) and For Dancers Also (1957), both of which reached the Top 15 on the Billboard LP charts. Frequent college tours further boosted their appeal to younger audiences, sustaining the orchestra's momentum during a challenging period for big bands. The group also produced its first stereo recording in 1957. The brothers' partnership ended after the 1958 album Sound Ideas, with Larry departing to form his own group. Les continued leading the orchestra on his own and preserved its standing, as shown by a second-place ranking (again behind Les Brown) in the 1959 DownBeat poll. In 1960, the band earned recognition as the Most Programmed Band by America's Disc Jockeys from Cashbox magazine and as America’s Favorite Band from Billboard. By the late 1950s, however, Les increasingly concentrated on business management and largely ceased regular performing.

Later career and reunions

After the commercial and critical success of the 1950s that established a foundation for his independent business-oriented approach, Les Elgart continued leading his orchestra without his brother Larry, recording eight additional albums during the 1960s with various arrangers and producers. In 1963, Les reunited with Larry for a brief period, resulting in the album Big Band Hootenanny, which featured contemporary folk-inspired material alongside big band arrangements. The brothers collaborated on further albums, including Elgart Au Go-Go (1965), which incorporated go-go rhythms to reflect current dance trends, and The Wonderful World of Today's Hits (1967), adapting the band's sound to popular contemporary songs. These releases represented deliberate efforts to keep the orchestra relevant amid shifting musical fashions of the era, with the final Columbia albums produced by Teo Macero. The partnership ended permanently after 1967, after which Les Elgart led pick-up bands for performances at colleges, conventions, and cruises, continuing to tour into the 1990s. In 1987, he made a notable visit to Brazil for performances, and he maintained occasional appearances thereafter.

Musical style and achievements

The Elgart Sound

The Elgart Sound represented the distinctive musical identity of Les Elgart's orchestra in the 1950s, defined by a tightly arranged blend of brass and reeds featuring synchronized sections that played with precision and unity. This approach produced a light, consistent beat that emphasized ensemble cohesion over individual expression, creating a smooth and sophisticated sonic texture. The rhythm section replaced piano with guitar to maintain a clean, uncluttered foundation, while arrangements included almost no solo turns and excluded vocals entirely, as Les Elgart never sang. This understated style contrasted sharply with the fuller, more sentimental sweet band sound typical of many 1940s orchestras, evolving from those earlier influences into a more modern and restrained aesthetic. The Elgart Sound proved particularly effective with the era's improved recording technology, which captured the clarity, balance, and subtle dynamics of the synchronized brass and reed sections in a way that enhanced their polished, elegant delivery.

Notable recordings and recognition

Les Elgart and his orchestra achieved significant popularity in the 1950s with a series of successful albums on Columbia Records, highlighted by Sophisticated Swing (1953), which marked their early breakthrough in the dance band genre. The Elgart Touch (1956) and For Dancers Also (1957) both reached the Top 15 on the LP charts, solidifying their commercial standing during the period. Sound Ideas (1958) represented another key release. In the early 1960s, the band continued with notable recordings such as The Band with That Sound (1960) and later Elgart Au Go-Go (1965). The orchestra earned consistent recognition in major music polls during its peak years. It placed third in the DownBeat magazine dance band popularity poll in 1954, then second in 1955, 1956, and 1959. A key composition associated with the band was "Bandstand Boogie" by Charles Albertine, which served as its signature piece and led to its use as a television theme.

Contributions to film and television

"Bandstand Boogie" theme

"Bandstand Boogie" was composed by arranger Charles Albertine during his time working with Les Elgart's orchestra starting in 1952, and it originated as an original instrumental piece for the band amid their commercial peak in the mid-1950s. The track was recorded and released by Les Elgart and His Orchestra in 1954 on Columbia Records. It was later adopted as the theme song for Dick Clark's American Bandstand on ABC-TV, serving as the program's signature music during its early years. This selection marked Les Elgart's primary direct contribution to television, helping to sustain the relevance of swing and dance band music on national TV at a time when rock and roll was gaining dominance in popular media.

Appearances and soundtrack uses

Les Elgart's on-screen appearances and the use of his music in film and television were relatively limited compared to his prolific career in recording and live performances. He appeared as himself with his orchestra in the 1958 musical film Senior Prom, a production that showcased various big band acts performing for a high school audience. In November 1966, the Les Elgart Orchestra performed on a Jackie Gleason television special dedicated to big bands, aired on November 21 of that year. His recordings saw occasional posthumous use in soundtracks, including the 1992 drama School Ties and Michael Moore's 2002 documentary Bowling for Columbine. These instances represent the extent of his known involvement in visual media beyond his primary work as a bandleader.

Personal life and death

Family and later years

Les Elgart was the older brother of Larry Elgart, an alto saxophonist and bandleader with whom he shared a lifelong family bond and frequently collaborated as co-leader of their orchestras. In his later years, he moved to San Antonio, Texas, in the early 1970s and later resided in Dallas, Texas. On October 17, 1977, in Dallas, he married Joerene (Williams) Ingram, who had three children from a previous marriage, and the couple had no children together. Joerene became the manager of his band following their marriage. He continued occasional band management and touring during this period. His marriage to Joerene lasted 18 years until his death.

Death

Les Elgart died of a heart attack on July 29, 1995, at the age of 77. He passed away at his stepdaughter's home in Dallas, Texas, where he resided. Elgart had continued working with his band until his death. His final performance took place on Long Island, New York, shortly before he died.
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