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    Zelig, Tibor

    Author, instructor and violinist who premiered Leroy J. Robertson’s Concerto for Violin and Orchestra with Maurice Abravanel and the Utah Symphony on 27th February 1950 as part of the University of Utah’s Centennial Anniversary.  He went on to record with the likes of Louis Armstrong and Phil Spector in the late ‘50s and it propelled him into a successful career as a session man.  Sam Cooke, Bobby Darin, and The Everly Brothers were a few of the early artists with whom he collaborated.  In 1966, Tibor set aside his violin for his pen and wrote “A Direct Approach to Pre-School Violin Teaching” which would appear in Music Educators Journal and The Strad.  He also appeared on The Beach Boys’ groundbreaking album, Pet Sounds.  His gigs continued to get more and more diverse as the ‘60s music scene took shape, working with Frank Zappa on Lumpy Gravy as a member of the Abnuceals Emuukha Electric Symphony Orchestra.  He got even more experimental in the late ‘60s, working on projects such as David Axelrod’s Song of Innocence, based on the works of William Blake, and worked with modern-day poet Rod McKuen between 1965 and 1970.  Tibor always picked interesting people to work with, like Harry Nilsson, with whom he recorded 1970’s The Point! and 1971’s Aerial Pandemonium Ballet.  He was making enough money by this point that he felt compelled to help others in the industry by penning a book entitled Know Your Musician’s Income Tax Deductions Better.  In 1972, he appeared on Beaver and Krause’s All Good Men and Hot August Night by Neil Diamond, with whom he would continue a creative partnership in the ‘70s:  He also appears on 1976’s Beautiful Noise and Neil’s 1977 release, I’m Glad You’re Here With Me Tonight.  Other notable albums he appeared on in the ‘70s include Diamonds and Rust by Joan Baez, An Evening With John Denver, and Walter Murphy’s Discosymphony.  He even found time to work on a film score, Electra Glide in Blue.  In the 1980s, he pitched in on Roberto Carlos’s and Lionel Richie’s self-titled solo debuts and offered string support to Harry Connick, Jr. on the soundtrack to When Harry Met Sally.  Neither did he slow down in the ‘90s:  In fact, he seemed to be even busier, and more eclectic than ever in his choice of gigs.  This same violinist who worked on Four Platters and One Lovely Dish also recorded with Clint Black on No Time to Kill, Barry Manilow’s Showstoppers, and Stevie Wonder’s Conversation Peace.  Other artists and groups with whom he has recorded include Air Supply, Israel Baker, George Benson, Brandy, Eric Carmen, Dr. John, The Eagles, Ella Fitzgerald, Marvin Gaye, Bill Haley, Billy Joel, Elton John, Chaka Khan, Peggy Lee, Julie London, Maureen McGovern, Sergio Mendes, Michael Nesmith, Randy Newman, Outkast, Elvis Presley, Jerry Reed, Diana Ross, Simon & Garfunkel, Frank Sinatra, Donna Summer, Tony Toni Tone, Mel Torme, T. Rex, The Turtles, and Dionne Warwick.  It is unsurprising that he also made the cut on the massive box set, Capitol Records (1942-2002).  Tibor has been on the payroll of San Fernando Valley State College and helps man their Saturday Conservatory.  A generous musician, always giving back, he has contributed to The Harmony Project, which helps out young musicians, and is an Advocate of the Tuberous Sclerosis Alliance.



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