After Burns moved to New York in the early 1940s, he met Charlie Barnet and the two men began working together.[1] In 1944, he joined the Woody Herman band with members Neal Hefti, Bill Harris, Flip Phillips, Chubby Jackson and Dave Tough.[1] Together, the group developed Herman's sound. For 15 years, Burns wrote or arranged many of the band's major hits including "Bijou", "Northwest Passage" and "Apple Honey", and on the longer work "Lady McGowan's Dream" and the three-part Summer Sequence.[1]
Burns worked with many other musicians. Herman band member Stan Getz was featured as a tenor saxophone soloist on "Early Autumn",[1] a hit for the band and the launching platform for Getz's solo career. Burns also worked in a small band with soloists including Bill Harris and Charlie Ventura.
The success of the Herman band provided Burns the ability to record under his own name. In the 1950s, Burns played nightly from 5pm -9pm in The Baroque Room at Oscar's Delmonico restaurant in Downtown Manhattan. He collaborated with Billy Strayhorn, Lee Konitz and Ben Webster to create both jazz and classical recordings. He wrote compositions for Tony Bennett and Johnny Mathis and later Aretha Franklin and Natalie Cole. Burns was responsible for the arrangement and introduction of a string orchestra on two of Ray Charles's biggest hits, "Come Rain or Come Shine" and "Georgia on My Mind". In the 1990s, Burns arranged music for Mel Tormé, John Pizzarelli, Michael Feinstein and Tony Bennett.
In the 1960s, Burns was no longer touring as a band pianist, and began arranging/orchestrating for Broadway shows including Chicago, Funny Girl, No, No, Nanette, and Sweet Charity.[1] In 1971, Burns first film score assignment was for Woody Allen's Bananas. Burns worked with film-director Bob Fosse and won the Academy Award as music supervisor for Cabaret (1972). He composed the film scores for Lenny (1974) and Martin Scorsese's jazz-themed New York, New York (1977). Fosse again employed Burns to create the soundtrack for All That Jazz (1979) for which he also won an Academy Award.[1] He then worked on Urban Cowboy (1980). Burns received another Academy Award nomination for his work in Annie (1982).
Baryshnikov on Broadway in 1980 earned Burns an Emmy for his work. Burns won the Tony Award for Best Orchestrations in 1999 for Fosse and posthumously in 2002 for Thoroughly Modern Millie, which also garnered him the Drama Desk Award for Outstanding Orchestrations. The latter were won with Doug Besterman. From 1996 until his death, Burns restored many orchestrations for New York City Center's Encores! series—revivals of both his own shows and shows originally orchestrated by others.[2] Burns was inducted into the New England Jazz Hall of Fame in 2004.
Burns carefully hid his homosexuality throughout his life.[3] In 2001, Burns died from complications of a recent stroke and pneumonia in Los Angeles, California, and was buried on April 13, 2002, in Newton.[4] He was survived by one sister, Nancy Lane (Burns), and three brothers, Leo, Joe, and Gael.
Contemporary Theatre, Film, and Television, Volume 24, Detroit: Gale Group (1999) OCLC48867915
International Motion Picture Almanac, 1992 edition, New York: Quigley Publishing Co. (1992) OCLC25170797
International Motion Picture Almanac, 1994 edition, New York: Quigley Publishing Co. (1994) OCLC29859214
International Motion Picture Almanac, 1996 edition, New York: Quigley Publishing Co. (1996) OCLC34264014
The New York Times Biographical Service; A compilation of current biographical information of general interest; Volume 32, Numbers 1–12, Ann Arbor, MI: Bell & Howell Information & Learning Co. (2001)
Kinkle, Roger D. The Complete Encyclopedia of Popular Music and Jazz, 1900–1950, Three volumes, New Rochelle, NY: Arlington House Publishers (1974); biographies are located in Volumes 2 and 3
