David Axelrod (April 17, 1931 – February 5, 2017) was an American composer, arranger, and producer. After starting out as a staff producer for record companies specializing in jazz, Axelrod became known by the mid-1960s in soul and jazz circles for his recording skills. In 1968, Axelrod embarked on a solo career and released several albums during the 1970s that showcased his characteristic sound, which combined heavily microphoned drums and baroque orchestration, and avant garde themes ranging from the environment to heightened mental awareness. With his early solo projects, Axelrod was one of the first recording artists to fuse elements of jazz, rock, and R&B. One of his most important records, Song of Innocence (1968), featured instrumental interpretations of 18th-century poet William Blake's poetry collection of the same name done in a contemporary musical vein, leading one critic at the time to coin the term "jazz fusion" and numerous hip hop producers to sample the album's music decades later. Early life Born in Los Angeles, California, David Axelrod was raised in its South Central neighborhood, where he grew up listening to R&B and jazz. His father was active in radical labour union politics. Career After a stint as a boxer, Axelrod found studio work in the film and television industry, and was soon in demand as a drummer, producer and arranger. He produced his first album in 1959, saxophonist Harold Land’s The Fox. In late 1963, Axelrod joined Capitol Records as a producer and A&R man. He encouraged the label to develop their black musicians. He began working with Lou Rawls, producing his successful Live album and a succession of gold albums and hit singles including "Love Is a Hurtin' Thing", "Your Good Thing (Is About to End)" and "Dead End Street", which Axelrod wrote and produced. He also began working with Julian "Cannonball" Adderley, one of the most successful jazz crossover artists of the 1960s. Axelrod produced Adderley's 1967 album Mercy, Mercy, Mercy! Live at 'The Club', which spawned the jazz hit "Mercy, Mercy, Mercy”, written by the band's pianist Joe Zawinul, which reached No. 11 in the US pop charts. Around this time Axelrod also began working with a regular group of leading session musicians, including Howard Roberts (guitar), Carol Kaye (bass) and Earl Palmer (drums). In 1968, Axelrod wrote Mass in F Minor and Release of an Oath in a contemporary rock vein for the Electric Prunes;