Hardy, Hagood - Morocco

Tracks

		Track Name	Length
	1	Teasin'	05:32
	2	Freddie Freeloader	08:26
	3	On Green Dolphin Street	05:38
	4	The Way You Look Tonight	06:36
	5	Morocco	06:44
	6	Manoir de mes Reves	08:01
	7	High Step	05:29
	8	Infra Rae	05:21

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Information/Write-up

Hugh Hagood Hardy was one of Canada’s most versatile and accomplished musicians — a vibraphonist, pianist, and composer whose career bridged modern jazz, television scoring, and pop instrumental success. Though born in Indiana, Hardy grew up in Oakville, Ontario, and came to embody the sound of a distinctly Canadian sophistication: cosmopolitan, melodic, and quietly emotional.

As a teenager he studied piano with Edna Lawrence and Ellen Scott, later discovering the vibraphone — an instrument whose warmth and clarity would become his signature voice. While studying political science and economics at the University of Toronto, Hardy took private composition lessons with Gordon Delamont and immersed himself in Toronto’s postwar jazz scene. He was a regular presence at The House of Hambourg, the after-hours club that defined the city’s modern jazz movement and launched figures such as Phil Nimmons, Moe Koffman, and Don Thompson.

From 1957 to 1961, Hardy led his own groups on CBC Radio and in Toronto clubs before heading south to New York. There he became part of the international jazz circuit, performing and recording with Gigi Gryce, Herbie Mann, Martin Denny, and George Shearing — appearing on multiple albums with each. He credited Shearing as his greatest influence, and the relationship honed the lyricism that became central to his own writing.

After nearly a decade abroad, Hardy returned to Canada in 1968 and founded Hagood Hardy Productions, quickly establishing himself as a composer for advertising and film. His company created jingles for major brands such as Kellogg’s, General Motors, London Life, and Canadian Pacific, many of which became as familiar to Canadians as their television programs. Yet even as he turned toward commercial music, Hardy never abandoned jazz. He formed a trio with bassist Ian Henstridge and drummer Ricky Marcus, later evolving into The Montage with vocalists Stephanie Taylor and Lynne McNeil — a soft jazz-pop ensemble that epitomized Canada’s late-1960s studio sophistication.

In 1970, Hardy and The Montage recorded one of the most coveted Canadian albums of the era: Hagood Hardy & The Montage – S/T (CBC Radio Canada LM-81). Pressed in minuscule quantity for internal CBC use only, the album was never sold commercially and remains among the rarest LPs in Canadian collecting — a holy grail of soft-rock, Latin-jazz fusion. Recorded at CBC Studio G in Toronto on August 10–11, 1970, and produced by Dave Bird and Jack Budgell, it features extraordinary versions of “Scarborough Fair,” “Nica’s Dream,” and Barbara Moore’s “Hideaway,” alongside two Doug Riley originals, “Travelling Down to Make It Town” and “You.” Hardy’s vibraphone dances over supple grooves laid down by Gary White (bass) and Dave Lewis (drums), with shimmering dual vocals by Taylor and McNeil. The result is an album of breathtaking lightness and rhythmic imagination — a Canadian answer to the California soft-jazz aesthetic, recorded years before the style found mass recognition.

A commercial follow-up, simply titled Montage (GRT 9230-1012, 1972), expanded the concept with guitarist Bill Bridges and bassist Rick Homme, and brought Hardy’s refined arrangements to a broader audience. With covers of “Baby I’m a Want You,” “How Insensitive,” and “Cast Your Fate to the Wind,” it stands among the finest examples of early-1970s Canadian lounge-jazz and remains a benchmark of studio elegance.

In 1975, Hardy’s melodic gifts reached millions when he adapted a jingle he’d written for Salada Tea into a stand-alone single. Released on his own Isis Records label, “The Homecoming” became an international hit — peaking at No. 14 in Canada and earning him the Juno Awards for Composer and Instrumental Artist of the Year, along with Billboard’s Instrumental Artist of the Year. Its parent album, The Homecoming, went double-platinum in Canada, and Hardy became synonymous with sophisticated instrumental pop — a style that, while sometimes dismissed as “easy listening,” in his hands balanced emotional restraint with genuine artistry.

Hardy went on to compose for film and television throughout the 1970s and 1980s, writing memorable scores for Second Wind (1975), Rituals (1976), Klondike Fever (1980), and a long string of CBC television movies. His crowning achievement in screen music came with Anne of Green Gables (1985) and its sequel, earning a Gemini Award for Best Score in 1986. The wistful “Anne’s Theme” became one of the most recognized instrumental melodies in Canadian television history.

By the early 1990s Hardy had returned to his jazz roots, recording Morocco (Sackville CD 2-2018, 1989) — a warm, acoustic session featuring Michael Stuart, Terry Lukiski, Mark Crawford, Richard Homme, and Barry Elmes, with pianist Gary Williamson as guest. The album reaffirmed his connection to the post-bop tradition that had shaped him in the 1950s, completing a creative circle that began at the House of Hambourg nearly four decades earlier.

Throughout his career, Hardy’s music combined the discipline of jazz with the accessibility of pop — a blend that made him both critically respected and broadly beloved. He released over eighteen albums, sold more than half a million records in Canada, and used his success to support the arts community. He served on the board of the SOCAN Foundation, acted as honorary chairman of the Canadian Cystic Fibrosis Foundation, became a UNICEF ambassador, and even ran for political office as a Liberal candidate in 1995.

In 1992, Hagood Hardy was appointed Member of the Order of Canada, and in 1996 he received the Toronto Arts Foundation’s Lifetime Achievement Award. Following his passing from stomach cancer in 1997, SOCAN renamed its annual Jazz/Instrumental Music Award in his honour — a fitting tribute to a man who exemplified grace, professionalism, and melodic intelligence in Canadian music.

Today, Hardy’s recordings remain prized both by collectors and by those who simply value beauty in sound. From the rare CBC LM-81 Montage — a record whispered about in audiophile circles — to the universal familiarity of The Homecoming, Hagood Hardy’s work continues to define a uniquely Canadian form of sophistication: urbane yet heartfelt, refined yet warm, always tuned to the quiet rhythm of home.
-Robert Williston

Hagood Hardy: vibraphone, piano
Michael Stuart: alto and tenor saxophones
Terry Lukiski: trombone
Mark Crawford: guitar
Richard Homme: bass
Barry Elmes: drums
Gary Williamson: piano (guest artist on all selections except Teasin’ and Morocco)

Produced by Hagood Hardy for Isis Productions
Recorded by Phil Sheridan, assisted by Mark Spiteri at McClear Place Studios July 6/7, 1989
Executive Producer: Ed Odette

Photography by Paul Hoeffler
Jacket design by Bill Smith
Typesetting by HotHouse

Inside Liner Notes (by John Norris, June 1990)
A generation of Toronto jazz musicians gained their entry into the mysterious world of jazz in the smokey atmosphere of The House of Hambourg in the 1950s. This after-hours club served as an ongoing workshop where experimentation went side by side with the development of jazz phrasing and a sense of swing.

The teachers were the latest recordings coming out of New York and an occasional visiting performer who made the late night scene. Great stamina, dedication and a growing sense of musicianship all went together in the development of stylistic individuality and artistic confidence.

Hagood Hardy was a young vibraphonist who performed regularly at the club during his university days. His cleanly articulated lines and percussive brilliance were touched with the delicacy which always marked the work of his principal mentor: Milt Jackson.

Other musical influences were swirling around during that period. Miles Davis’ recording of Kind Of Blue opened up fresh harmonic possibilities while the substitutions and alterations conceived by Bill Evans led to the eclipse of the percussive hardness of bebop piano. Simultaneously the soulful funkiness of Horace Silver and Art Blakey had given jazz a revitalized rhythmic edge.

Now, some thirty years later, Hagood Hardy has returned to his roots for an evocative set of performances based within the traditions he grew with to musical maturity. The idiomatically astute arrangements set up the joyful groove within which the musicians get down to the fundamentals of jazz playing.

Hagood Hardy’s career comes full circle with this recording. In 1961 he took the plunge and went to New York where he worked with Gigi Gryce before joining Herbie Mann’s band. He can be heard on that group’s hit recording of Comin’ Home Baby. After more than two years with Martin Denny he followed Gary Burton into the George Shearing Quintet. He is also heard on Joe Pass’ Simplicity recording from that period. Upon his return to Toronto in the late 1960s he realized that jazz could not support his growing family. Like others of his generation he became part of the lucrative commercial music world. He began composing music for film and theatre and created catchy themes for TV commercials. One of these turned into The Homecoming, one of the most successful popular instrumentals of the decade. Both The Homecoming and his more recently composed music for the television production of Anne Of Green Gables have helped underwrite his return to jazz music.

This recording is very much a showcase for the outstanding musical qualities of the musicians who perform Hagood’s arrangements. Both Terry Lukiski and Gary Williamson were members of the Phil Nimmons’ band of the 1960s which recorded The Atlantic Suite (Sackville 2008) but their artistry has blossomed since that time. Michael Stuart has grown through the music of John Coltrane into a fiercely expressive player while Mark Crawford’s delicate touch and sensitive fills add much to the music. Bassist Richard Homme was often heard with guitarist Sonny Greenwich in the 1960s and has been part of Hardy’s musical family for some time. Barry Elmes has become a major jazz drummer who is comfortable in a variety of settings where his idiomatic sensitivity helps pull the music together.

The music created here is a reflection of a sentiment expressed many years ago by Hagood when he said (in The Encyclopedia of Jazz in the Sixties), “I prefer the linear, melodic school of thought rather than the vertical, angular concept, as I feel the vibraphone is very well suited to it.”
-John Norris, June 1990

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