Although both hailed from New York, he was no relation to the legendary composer Leonard Bernstein.

"That's a common question," Mouton said. "They were friends and fellow New Yorkers, but they were not related in any way."

A supporter of left-wing causes, Bernstein's career was nearly destroyed by the Hollywood Red Hunt of the 1950s when he was summoned before a congressional subcommittee and told to identify communists in the film industry. He refused, saying he'd never attended a Communist party meeting.

"I wasn't important enough to be blacklisted, so I was put on a gray list," he once said. [AP]

Here are some quotes from his very fine webiste:

Los Angeles Jazz Society Honor (excerpts), October 28, 2001 | Arthur Hamilton
"Even if you wanted to, you couldn't escape from Elmer Bernstein. His music has stirred you, excited you, inspired you, amused you, and kept close company with you for the past fifty years. Kept close with you, your family, and your family's family--no matter where you live in the world."

"How is he thought of by the other members of the music community? With deep respect and a lot of envy. Somehow, he has managed to stay on the cutting edge throughout his career. His innovative concept for 'The Man With The Golden Arm' was a ground breaking, all-jazz score--and a Hollywood first. Previously, jazz was treated as a specialty item. He proved it could sustain mood for an entire film."

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Keynote Address at Elmer Bernstein's ASCAP Honor (excerpts), April 24, 2001 | James Newton Howard
"Really very little need be said about Elmer's work other than this: He is one of the greatest film composers ever. What Elmer Bernstein has done is create a massive body of work, which includes many definitive examples of film compositional styles. It's been like a how-to book for up-and-comers like me."

"Certainly, 'effortless' is one of the words which comes to mind when I consider Elmer's work. With his scores, one never has the feeling that the music is working too hard. Somehow, he has always been able to achieve gigantic effect with the most gentle and graceful gestures. Never has that been put to better use than in his incomparable score to, 'To Kill a Mockingbird.'"

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Martin Scorsese, 2001
"An interviewer once asked me to discuss my collaboration with Elmer Bernstein, and precisely why I chose to work with him. My first thought was: How could I not work with Elmer, when I had the chance? Simply put, he's the best there is--the very best."

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