The mere mention of the name, Harry, would cause my seventeen year old daughter to swoon. Harry Connick Jr, a New Orleans musician, was the source of all this emotion. She began collecting all his albums. We were given lists with Harry 11, Harry 20, Red Light, Blue Light. Each music department I would enter would become a source of the next birthday or Christmas present.
We were at my brother's home for Christmas when there was a Harry Connick Jr. Christmas Special. To my amazement my nephew was another Harry fanatic. He had all the tapes and some videos. Now I had another set of gift choices in the form of Harry videos. It was during this time that I became curious about Harry Connick Jr.
I found his music to be surprising in that it crossed the generation gap. The jazz, swing, and sometimes blues type music was pleasing to me also. I became a fan of Harry too; though I was not swooning. He brought to mind other crooners such as Johnny Mathias, or Nat King Cole. The generation before mine may have been reminded of Frank, Frank Sinatra.
Now Harry Connick's music is changing. In my daughter's mind it is even better. I am beginning to lose my enchantment with Harry. Thus, I want to find out more about this 'pied piper'.
New Orleans is the home to a regional opera company, a major symphony orchestra, and major ballet; but what puts it on the map is that it is the birthplace of jazz. Harry Connick Jr.'s roots begin in New Orleans. The courtship of his parents may have also set the tone for Harry's strong romantic streak. His parents, Harry Sr. and Anita Livingston, both New Orleans natives, met in Morocco, were married in Tunisia in 1953, and honeymooned in Gibraltar. They were avid music lovers.
After returning to the United States, Harry Sr. and Anita bought a music store and worked there while they both attended law school. During this time Suzanna and Harry Jr. were born--Harry on September 11, 1967. In 1973 Harry Sr. was elected district attorney of Orleans Parish. Mrs. Connick, a hardworking attorney and political activist, became a judge in 1979. Harry's older sister had a strong interest in language. Harry showed an early musical sense.
When Harry was 3 years old he picked out the Star Spangled Banner on his cousin's piano. His mother couldn't find a piano teacher for the three year old, so Harry listened to his sister practice and by the age of 5 could play his sister's piano lesson. His sister Suzanne Connick is also an accomplished pianist but followed her language interest and is in Army intelligence.
Harry had his performance debut at his father's inauguration celebration. He then began taking lessons from Joseph Scorsone. At the age of nine, after four years of lessons, he played Beethoven's Concerto No. 3 with the New Orleans Symphony.
Every weekend Harry's parents took him to the French Quarter and he would play a couple of songs with every band on Bourbon Street. His early start, regular exposure to live jazz, and parent's musical interests were an advantage for Harry Connick Jr. In his early teens he would be dropped off in the French Quarter to hang out. His father allowed him to play from 11pm to 3am.
When he was 13, Harry's mother died after a battle with cancer. The housekeeper says Harry was quiet for two years but still played the piano. Juanita Smith, housekeeper, also said Harry was a performer. "He wouldn't practice unless I sat and listened. " (1:14) Every afternoon she would stop her chores to settle in a comfortable chair in Harry's room and listen.
Harry Connick Jr's education began in New Orleans Catholic schools through the sixth grade when he auditioned for the prestigious New Orleans Center for the Creative Arts (NOCCA). This was a public school that was described as "one of the country's finest pre-professional arts high schools." (1:29) Students attended half day at the public school and half day at NOCCA for intensive arts training. Admission was based on grades and a thorough audition. Harry was accepted into the Classical Instrumental Department when he was thirteen. Not only was he younger than the other students but there was an agreement that allowed him to come from the private school. Harry says he didn't consider himself different as a kid. He thought he was a normal kid, just good at music.
At NOCCA Betty Blancq, his piano teacher, said Harry was eager but lacked structure. He was also very hyper all the time.(1:30) Bert Braud PhD taught music theory. He said Harry had no idea what music was all about. The guys he was learning from didn't have much in the way of techniques.(1:31) Harry was interested in Classical and Jazz. Most of the other students were black High School kids and were on the way to finding their own jazz voice and style. It was an awkward time for Harry.
Ellis Marsalis, a renown jazz pianist and educator, was on staff at this time. He is the father of Wynton and Branford who had graduated in 1979 and 1978. They were already beginning to make a mark in New York City. They often would come back and talk to the students. Harry credits Ellis with bringing him from an undirected goof-off to a very focused, potential jazz musician. "Ellis," he says, "impressed upon me the seriousness of music."(1:35) Ellis broadened his jazz perspective.
Harry had an astounding ear--what musicians call "big" ears--if he heard it he could play it. He could mimic Ellis Marsalis' playing such that the other students would look expecting to see their teacher. His "ear" also allowed him to mimic the black English vernacular of fellow students.
Harry loved Funk, the popular mixed jazz style featuring a strong, repetitive electric bass line. Funk is music you have to move to, music to party by. (1:40) Delfeayo Marsalis, the fourth of Ellis's six sons, played trombone in a funk band which Harry joined. The two became friends. A few years later Delfeayo produced Harry's debut record in New York City.
Harry attended one semester at Loyola University in New Orleans but he wanted to go to New York. He made a deal with his father that he would continue his education. At the beginning of 1986, he went to New York, enrolled at Hunter College, landed a job with the Charles Neville group, dropped Hunter and enrolled at Manhattan School of Music. It was in New York that he traipsed the streets asking club owners if they needed a piano player. He became an organist and choir director of Our Lady of Victory Church. However, his popularity was increasing, and the quality of "rooms" he was playing increased. In this upscale venue he made some important contacts with famous people who had come to see his cabaret show. One was George Butler of Columbia Records who offered Harry his first recording contract.
His first album, Harry Connick Jr., got positive reviews and enhanced his fame. He participated in a ten city tour but received no Grammy or #1 Billboard hit. The next album, Harry 20, was produced by another childhood friend, Kevin Blancq.
Harry's first Grammy Award came in 1989 for the soundtrack album When Harry Met Sally. He also won Male Jazz Vocalist of the Year. The clean cut, chisel-jaw musician with a penchant for sharp suits was on his way.
Harry Connick Jr has recorded eleven albums, and five videos. He has also been in four movies--Memphis Belle, Little Man Tate, Copycat, and Independence Day. He is the leading man in two movies yet to be released.
April 16,1994 Harry Connick Jr. married Jill Goodacre, a top model. They currently have one child with another due in September 1997. Besides modeling and mothering, Jill is interested in photography and directing. Jill directed Harry's1992 video, The NewYork Big Band Concert. Harry and Jill enjoy spending time in New Mexico with Jill's mother, Glenna Goodacre. Glenna was the sculptor of the Vietnam Women's Memorial in Washington DC.
I am impressed by the Harry Connick Jr that I investigated. So what about this jazzy funk of the 1990's Harry? On November 7,1995 The Daily Bruin says "Under the tutelage of such great artists as Ellis Marsalis and James Booker, it seems natural for the musician to come back to his roots."(5) Harry thinks it is time to let people hear a different side. Connick's funky side began with his 1994 album She. He toured with his Funk Band on the She College Tour. Besides songs from the popular album, he sang some gospel, and kept the show upbeat by jamming with the Funk Band. One reporter described the performance by writing, "He proceeded to get funky on a variety of instruments, including guitar, trumpet, drums and bass. And it wasn't like he was goofing around, either; the man can play all of these instruments well." (2)
The next album is where I leave Harry. His most recent album is Star Turtle, Connick's wildest ride yet. It follows a reptilian rocketeer who lands in New Orleans and soaks up the many funk, blues and Creole sounds of the city. The CD comes with computer graphics. This is where Harry and I part. This new funk, featuring Harry playing an electric guitar in place of the piano, is much darker than the sound of his past albums. I still prefer the big band sound.
As a result of my search I have learned that Harry Connick Jr. is a musician of note. He is incredibly gifted with natural talent that he has worked hard to improve. By his own admission, he loves to perform. (4) From people I know who have seen him in concert and from the reviews I have read it seems obvious that he gives a great deal to his audience. I also see the hyper-Harry manifested in the energy of his performances, in the dual careers of music and film, and in the ever changing music. I admire the family values he received from his parents and the attitude he has toward his wife and children. I believe that Harry is a true jazz musician in that he is always 'changing it up.'
As for myself, I have found that I may not be a true jazz fan. I enjoy the swing, blues and big band jazz but do not enjoy the funk as much. However, now that I understand it better maybe I will enjoy it more. The jazz term 'changing it up', I think, means exploring further and getting better. Perhaps there is hope for me to 'change it up' also. Sources 1. Felix, Antonia. Wild About Harry. Dallas, Texas: Taylor Publishing Co., 1995 2. Kincheloe, Amy. "Harry" The Daily University Star [University of Texas] 3 November 1995 3. Milano, Brett. "Harry Connick Jr." The Boston Phoenix 1996 Best Music Poll 4. Morse, Steve. "Live Harry Connick Jr. The Best of Both Worlds". Boston Globe 26 July 1996 5. Richmond, Jennifer. "Funkier Side of Harry". The Daily Bruin [UCLA], 7 November 1995 6. Microsoft Music Central 96 CD