Reflections of an International Musician

Introduction:

For many of us, today is a Homecoming.

There is a very famous motto in Latin with which many of you are familiar. It is Beati Mundo Corde, which translated means, Blessed Are The Pure In Heart. Hagood Hardy, when he arrived at Trinity College School at a young age was not a Latin scholar and he thought the motto was Blessed Are The Pure In Art and so for all his life he has lived up to that motto.

It was obvious to all of us at TCS in the 1950s when we first heard him playing his vibraphone, that he was indeed a gifted student. He was gifted academically as well because they put him in form 4A. There were several classes in the 4th form - one was form A for gifted students as we would say today; form 413 was for average students; form 4132 was for sub-par people; and form 4BX was really a fix-it shop for difficult children. l was in form 413X.

What was so extraordinary was the tremendous influence that Hagood had on the entire 300 boys at the school (which was famous then and continues to be one of the outstanding institutions of its kind in this country). Sunday nights prior to his arrival tended to be dull. If we were lucky, we might have seen a movie or had a pep rally or put on skits. But after Hagood arrived we had jam sessions. Suddenly people with little or no talent came out of the woodwork and showed an interest in music. I was one of them. Mac Campbell, Richard Seagram, Eddie Long and myself actually started up a quartet. We thought we were pretty good. Our theme song was /Talk To The Trees. It wasn't until one of the parents got so sick of listening to us that he took us to a recording studio, recorded l Talk To The Trees and after we heard it, we never sang it again. But our appreciation of music developed from Hagood Hardy.

Hagood went on to study Political Science and Economics at the U. of T. and performed in local jazz clubs and on CBC TV and he formed his own group for the years 1957 to 1961. He completed his B.A. in 1958.

The rest is history.

In 1961 Hagood went to the U.S. working with Gigi Gryce, Herbie Mann, Martin Denny and his favourite, George Shearing, who had a great influence on Hagood's career.

Hagood returned to Toronto in the late 60s and formed his own group known as The Montage, a pop group with jazz and Latin American leanings. After the group broke up in the 70s Hagood concentrated on the composition and recording of music for jingles, TV, radio and films.

His big break came in 1972 when through his commercial companyHardy Productions - he received a contract to develop a television commercial sound track for Salada Tea. The result of that work was The Homecoming which we have all enjoyed and which became an international hit.

Juno awards; Genie award nominations; gold recordings; film scoring for TV and features films such as Anne of Green Gables; Second Wind; Gemini awards. All arrived at his door.

A critic in the Winnipeg Free Press described Hardy's music as "soft and shimmering as silk:" A Halifax critic put it especially well when she said: "Much of Hardy's music is like shuffling through leaves on a wet November day - hands dug deep into the pockets, eyes dreamy and a mind full of teasing nostalgic thoughts."

Hagood Hardy is married to Martha. They have four children and are now grandparents. He finds a little bit of time to ski and golf and loves spending time in the country. But getting back to my silly reference to his misunderstanding of the motto of the school -he is, in fact, pure in heart as well as pure in art. He has set an example for fellow musicians and composers and thousands of young people in the way that he and Martha have conducted their lives. They have been unfailingly selfless and have contributed much to other people. They have understood the word service to their community and to the world through such organizations as UNICEF of which Hagood is an Honorary Patron.

TCS is proud of him, Toronto is proud of him, Canada is proud of him, and the entire musical community around the world is proud of him. It is a great honour to have him at the Empire Club.

Hagood Hardy:

It's a real pleasure to be here this afternoon. And I'm still rather amazed that you're here to hear me talk. This will prove to you irrevocably that there's no such thing as a free lunch!

The subject matter of my speech this afternoon has been creating quite a stir recently - of course only among my immediate family who are here today trembling in their seats. I've been feeling pretty good about it but I must say that my old friend Eric Jackman cast quite a pall on my spirits by suggesting that a piano be handy just in case I need a quick escape.

So when I finally got down to some heavy consideration of a topic I regretfully put aside my desire to comment on the pros and cons of Nuclear Fission, or my in-depth study of the Tongan Islands and even my critique of Toronto's critics - after all why should I give them any press! Instead I thought perhaps it might be interesting to talk a little about what I do. I'm not saying that I fully understand it myself but maybe by talking about it some of the haze may clear.

At times it can be rather an emotional merry-go-round, growing up in the "straight" world - quotation marks mine - and opting for a decidedly different life. And there was a time when - in order to learn how to play - that lifestyle was different to an extreme. But now ... ? I have all the trappings of a modern day businessman. Office in the annex that I try to avoid. Fax machine. Tax audits. (Only my closest, most intimate friends and family members know that my briefcase is full of Black & Decker's finest). Everything that I've avoided all my life. Even today when I have to pay my weekly or bi-weekly visit, Martha explains to my important phone calls that I'm downtown "playing" office.

So every once in a while I'll sneak away under cover of darkness and revel in the throes of an underground jazz club, or an occasional road trip. Road trips are much like I imagine joining the army would be. Especially if you're in business for yourself. It's like playing hooky. No phones, no demands except those of that night's performance. All you have to do is concentrate on the job at hand. Sheer luxury.

Actually on a day-today basis, I lead a rather normal business existence. Most of my telephone calls come between 10 a.m. and 6 p.m. Most of my composing is done in normal hours except for the odd emergency. As far as self motivation is concerned - I'm not. I know it's a common idea that for one to be successful in business for oneself one must be self-motivated. I'm strictly deadline oriented. If there isn't one provided for me, l provide it myself by hiring a studio, a bunch of musicians - even a client if one isn't immediately forthcoming. The mere thought of all that cash going down the tubes is certainly enough to stir my creative juices.

So when I gave some thought to what I might have to say today, l compared our lifestyles and arrived at some points of similarity which I'm sure will surprise many of you - and some of the more interesting differences - which always surprise me. l guess you might say that I was raised in a rather solid manner with traditional values. We lived in the earlier years with my grandfather who was Judge of the County Court in Brantford. Little did he know that a big old upright piano in his parlour was sowing the seeds of doom in his grandson. We moved to Oakville when I was seven and it was here that the die was finally cast when I discovered the magic of Joe Rico's Jump for Joe radio show on WHLD Niagara Falls. My parents should have seen that something was amiss, because instead of a flashlight and comics, I'd smuggle a radio to bed. Of course I was all keen on hockey and baseball but the difference was music.

And that difference is probably the thing that caused my father to suffer severe agonies and trauma attacks but, thankfully, caused my mother's eyes to light up. My mother is still her loyal and optimistic self. My father died several years ago at a ripe age, probably still convinced that this musical life would lead to a den of thieves, drug addicts, alcoholics and practitioners of every other crime imagined or yet to be imagined. It seems, however, to have led to the Empire Club!

Surprise, surprise!

Certainly back in the late 50s and early 60s - the days of 11:30 bar closings and dark Sundays - the belief was that anyone who had any dealings of any kind after 6 p.m. was up to no good. In those days we didn't have the sophisticated music programs of today's high schools and Community Colleges. What we did have was the fun and surreptitious danger of hanging out in the Big City in the post midnight hours trying to learn how to play.

My heroes were the visiting jazz men, principally at the Colonial or Town Tavern. Up on Gerrard Street, just west of Bay, there was a real den of iniquity called the House of Fungus - appropriately I might add - where all these visiting gods used to come and session after the gig! To get in, all you had to do was show up with an instrument. Nothing started till 2 a.m. Of course if you couldn't hold your own there were ways of freezing you out. One fellow in particular didn't know when to stop playing so when he began to solo we'd all leave. It was a dirty job but somebody had to do it. It took some time though. For a while he'd still be playing away by himself when we got back. All this time I was living up at Trinity College getting an education. Needless to say the one I got was not on their curriculum.

The average Canadian dream still seems to be to play hockey at Maple Leaf Gardens or a contemporary counterpart. My idea of heaven was playing the occasional off-week for Sammy Berger at the Town Tavern and weekends after hours at the House of Hambourg back of the Holt Renfrew parking lot up on Bloor Street. Of course anyone who had any of Ruth Hambourg's week-old leftover lasagna might take issue with my concept of heaven but as far as I was concerned that was it. One summer they gave me their attic room so I could be "on the scene" as Clem would say. The only way in, was up a rickety old fire escape and since it was right at the roof, you couldn't stand up. But it was a grand room with a lot of history. Guitarist Ed Bickert had been a previous tenant as had artist Denny Burton. Clem and Ruth were truly patrons of the arts.

Infrequently I am asked by friends to speak to their kids about music. I always make sure that they understand that I can't bring myself to discourage their interest, but perhaps suggest ways of proceeding that would at the same time satisfy their parents' concerns. Because a lot of those concerns are sincere and deep seated. How secure can you be? What happens if you fail? Is there a pension plan? I think that today, in light of recent developments, these questions are better directed at the business world. There's no doubt about it that the business section makes sports and entertainment look dull by comparison.

I must be honest. There have been times that I've thought about trying something else. Mid-life crisis is an on-going thing it seems. l guess it's out of curiosity as much as anything else. But somewhere along in my search for the real me, I'll do something like refer to an interview as an "audition" and I realize that I'm pretty much where I should be. Besides where else could I find as much time to play golf? The most important questions, and sadly the ones that are invariably missing, are the ones concerning dedication, determination, happiness - granted they may not pay the bills but they sure make starving a lot more bearable!

There are several other important things for kids and their parents to remember. One is the misconception that the magical word "talent" is all decisive. The actual formula, if there is such a thing, for - I won't say success; lets say achievement - places the highest priority on dedication and determination, which in turn fuels the second most important element - discipline. Talent is the difference between Heifitz and 100,000 other highly accomplished violinists who are extremely happy and successful. You must remember that the satisfaction is in the music itself - not necessarily in who gets the best chair in the orchestra.

There's no doubt about it that the work put into gaining a semblance of success in this type of life would probably earn a lot more favourable dividends in another profession. You might say that its the price you pay. Hey - do you suppose that's tax deductible!

I always get a kick out of how some of my oldest friends sort of edge up to me at the odd cocktail party and try desperately to find out what - and indeed how -I'm doing these days. Never was the gap so apparent. Of course what they're most afraid of is that I'll be currently unemployed - a rather common state of affairs when you specialize in commissioned works and concerts. Of course we never say unemployed - rather it's "between engagements." But still, an astute mind understands those semantics. However, we've now put our friend in an embarrassing position. Much like telling him that the wife he'd asked after is now living in a commune in Latvia or something.

When Martha and I returned to Toronto occasionally from our seven year sojourn in the United States we'd often be asked to cocktail parties to see old friends and acquaintances. Before we got to each one we'd make up a fantastic new schedule for ourselves. Something like - just finished a fourweek concert tour of the Maldives and passing through on our way to a recording session with the King of Siam. Of course we were always protected by the age-old truism that nobody pays any attention at cocktail parties anyway! But it was fun.

So as a hedge to any future embarrassing situation, I'd like to talk for a closing few minutes about what's happening right now - and which is, fortunately for me, the most exciting. If I was put on the spot and asked to name the one sure common denominator for all kinds of endeavour, I think it would have to be a passion for what you're doing. And it doesn't matter what it is that you do. Without that passion life just doesn't seem quite as full. As there are so many different avenues to follow in my field, I've had to do some soul-searching about that very question, and without a doubt the areas that give me the most pleasure are film scoring and concerts. Only yesterday we completed the dramatic score (please don't ever say "background music" to my wife - she can be very dangerous, but fortunately it's in my behalf) for the upcoming mini-series on the Harry Oakes murder case - Passion and Paradise. You'll be able to see the finished result on Feb 19th and 21st but I can assure you it was a pleasure to be involved.

Many people have a real interest in film-scoring. I get many sophisticated questions from often unlikely sources. Such as WHEN in the process are you involved? HOW is it done? Do you see the picture in ROUGH stages or FINISHED etc., etc? Most people need to be reminded that a film is an AUDIOVISUAL event. The structure of the sound track should provide the AURAL counterpart to what's being seen on the screen. Often I wish I could get the film makers and critics to express the same concern for this fact as do many of my friends outside the business. It's such a fascinating subject that I've outlined what was to have been a two-hour lecture. It's now become a six-week course so any of you with questions - pack a lunch.

I wish that every school kid - no, l think I should add every member of the government - could have the opportunity to travel in and see all the areas of this country that I have with my group during the last four years.

We've played in over 200 different locales. Usually I call them major metropolitan areas. It always gets a reaction when I'm speaking of Saskatchewan! The vastness and beauty of the country and the gentleness and sensitivity of the people are overwhelming.

We've played concerts from St. John's to Labrador City, from Glace Bay to Yarmouth, New Brunswick, PEI, Quebec City and Montreal, all through Ontario - as a matter of fact we're in Perth tomorrow night - anyone here from Perth? From Thompson to Holland in Manitoba, 32 major metropolitan areas in Saskatchewan. All through Alberta and from Prince Rupert through 23 centres to Trail in B.C. Now the reason I've rhymed all this off is because you can't help but get a fairly good perspective on the arts in this country from that kind of travel.

The most important thing for the Government to remember in its policy toward the Arts - especially in light of free trade - is that the biggest impact they can have is in two major areas. That of nourishing and enriching the atmosphere and environment for artistic growth and development, and assisting in the distribution and exhibition of artistic work. After all, the work of an artist is a reflection of who he is - which of course is strongly tied to his or her environment. Government involvement should be geared to ensuring that that environment is conducive to the nourishment of young artistic talent. The dissemination and distribution of works of art whether film, music, fine art, literature, sculpture, theatre, dance - all areas of artistic endeavour - is a prime candidate for governmental assistance.

In past years we have depended - not too successfully I might add - on the distribution networks owned or funded by American interests. Now that free trade is being implemented, it is likely that the need for their local manufacturing and distribution outlets will disappear - those functions to be serviced from the U.S. That gap must somehow be filled. The worst possible thing that could happen to me as a musical communicator, would be to be cut off from my audience.

I welcome free trade. I welcome the cutting of the umbilical that will I'm sure lead to an increased self-awareness and a global outlook in the Arts community. But it is mandatory that government redirect its largesse to the areas that are in the most need.

In recent years we've seen an overabundance of Royal Commissions, standing Committees, ad hoc committees and every other imaginable type of committee all purporting to deal with the establishment of a truly Canadian culture. How like us to feel that all we have to do is set up a committee. I'm afraid, like the couple who try and try to get pregnant, the more we talk about it the less chance of it happening. This is why I feel so strongly that the government should play the role of the good farmer. Prepare the fields, sow the seeds and let nature take its course.

As far as creating a forum for the exhibition of the work of our artists is concerned, l think that the most effective way of stimulating interest is through a system of tax incentives for the exhibitors - be they radio stations, galleries, record stores, book stores, movie theatres, playhouses, concert halls - that is proportionate to their support of Canadian art and culture. Now if anyone would like to discuss this at greater length please talk among yourselves - I'm going to Perth.

The appreciation of the meeting was expressed by Dr. Frederic L. R. Jackman, President, Invicta Investments Incorporated, and a Director of the Empire Club of Canada.