[3] After graduating from Michigan State University (from which, five decades later, he would receive an honorary doctorate), he became the pianist and arranger for the vocal group the Hi-Lo's in the late 1950s.

[6] Beginning in the early 1970s, Fischer embarked on a parallel (and far more lucrative) career, eventually becoming a much sought-after arranger,[1] providing orchestral "sweeteners" for pop and R&B artists such as Rufus (with Chaka Khan), Prince (a regular client from 1984 onwards, and by far Fischer's most frequent in pop music), Robert Palmer, Paul McCartney, Michael Jackson and many others.

After two years of piano lessons the family moved to Grand Rapids, Michigan, where Fischer began composing classical music and making instrumental arrangements for dance bands.

His high school instructor, Glenn Litton, took an interest in the boy and, because the family could not afford it, gave him free lessons in music theory, harmony, and orchestration.

Fischer's roommates at the Michigan State University were Latin Americans, as were the majority of his friends outside the music department.

[13] Over the following year, Fischer collaborated on two Bossa Nova-themed LPs with saxophonist Bud Shank, and arranged another for pianist George Shearing.

Although it would be twenty-five years before the album was finally released, September Afternoon paid immediate dividends when Byrd played a copy for Dizzy Gillespie.

In turn, Gillespie hired Fischer to write arrangements for a small ensemble featuring brass and woodwinds for his own album, A Portrait of Duke Ellington,[10] which was well received.

In 1960, albums for vibraphonist Cal Tjader and pianist George Shearing followed, as did an eight-year career of writing music for commercials, as well as the signing of Fischer's first record contract.

These early records are meticulous studies in jazz, bossa nova and mambo, with the harmonic depth of Bach, Shostakovich and Stravinsky.

Years later, Fischer would record T'DAAA (1972) which showcased his skill on the Yamaha EX-42 and Clare Declares (1977) which once again featured the pipe organ.

In 1975, after ten years of studio work and artistically successful yet obscure solo records, Fischer found a new direction.

Just like Hancock and Chick Corea he was a pioneer on the electric keyboard, and in that capacity he joined vibraphonist Cal Tjader's group.

"[9] Among the artists Fischer worked for are The Jacksons, Earl Klugh, Switch, Debarge, Shotgun (a late 70s offshoot of 24-Carat Black) and Atlantic Starr.

Once his fame as an arranger was established, Fischer also worked with pop musicians such as Paul McCartney, Prince, Celine Dion and Robert Palmer.

"[9] Classical concert artist Richard Stoltzman commissioned him in 1983 to write a symphonic work using Duke Ellington and Billy Strayhorn themes.

The result, "The Duke, Swee'pea and Me", an eleven and a half minute orchestral work, was performed with a symphony orchestra and Stoltzman on clarinet all around the world.

Prince's 2005 single "Te Amo Corazon", a mid-tempo Latin jazz track, is one example of his collaboration with Fischer.

As a jazz educator, Fischer performed solo piano concerts and conducted clinics and master classes in universities and music conservatories in Europe and throughout the United States.

In 1993, the Dutch jazz pianists Cor Bakker and Bert van den Brink recorded an album of Fischer compositions together entitled DeClared.

In 1998, the album The Latin Side, which also featured Fischer compositions, was released by The Netherlands Metropole Orchestra (led by Rob Pronk and Vince Mendoza).

In addition to his work with Prince, Fischer provided arrangements for Michael Jackson, Amy Grant, João Gilberto, Paula Abdul, Natalie Cole, Chaka Khan and Branford Marsalis.

In December 1999, Michigan State University School of Music conferred an Honorary Doctorate of Fine Arts Degree on Fischer in recognition of his "creativity and excellence as a jazz composer, arranger and performer".

On October 22, 2009, Manhattan School of Music's Concert Jazz Band, under the direction of Justin DiCoccio, commemorated two Clare Fischer anniversaries - both his 81st birthday and the 40th anniversary of the release of his well-regarded big band LP, Thesaurus - with a concert whose program concluded with five consecutive arrangements culled from that album.