More Info on Bruce HaackSimilar Undetermined MusicSearch Artistopia
Biography
Infobox musical artist|name = Bruce Haack|image =|caption =|image_size =|background = non_vocal_instrumentalist| birth_name = Bruce Clinton Haack| alias = Jackpine Savage, Jacques Trapp| birth_date = birth date|1931|5|4| birth_place = Nordegg , Alberta , Canada | origin =| death_date = death date and age|1988|9|26|1931|5|4| death_place = Westchester, Pennsylvania|West Chester , Pennsylvania|PA , United States|USA |instrument = | Synthesizer |genre = Electronic music , Children's music , Space age pop , Psychedelic rock |occupation = Musician , Music producer|Producer |years_active = 1963–1981|label = Dimension Five , Columbia Records|Columbia |associated_acts =|website = http://www.brucehaack.com|current_members =|past_members = Bruce Clinton Haack Audio|En-Bruce Haack.ogg|listen (May 4, 1931–September 26, 1988) was a musician , composer , and pioneer of electronic music . He was born in Nordegg , Alberta , Canada .
Bruce Haack started picking out melodies on his family's piano at age four; by age 12, he gave piano lessons and played piano with the Swing Tones while attending the University of Alberta . The Swing Tones were a popular local band based out of Edmonton, Alberta, and they played in venues in the city and surrounding area. The band played primarily modern and old-time music, and they introduced him to Eastern musical motifs and themes, as they played quite a bit of Ukrainian folk music. While with The Swing Tones, Bruce Haack was known for his uncanny ability to hear music and then play it back immediately from memory, and he could compose innovative riffs while the band was on break during a job. His talent was legendary, and he owned a tremendous record collection of music from around the world prior to moving to New York. In later years, Haack's painting of St. Basil likely is reminiscent of his earlier years with The Swing Tones in Edmonton.
Haack was also invited by Native Americans to participate in their pow-wows, experimenting with Peyote , which influenced his music for years to come. His upbringing in the isolated mining town of Rocky Mountain House in Alberta , Canada , gave him plenty of time to develop his musical talents. http://brucehaack.com/bruce-haack/ 1931-1988 Biography at Bruce Haack Web
Seeking formal training to hone his ability, Haack applied to the University of Alberta's music program. Though that program rejected him because of his poor notation skills, at the Edmonton university he wrote and recorded music for campus theater productions, hosted a radio show, and played in a band. He received a degree in psychology from the university; this influence was felt later in songs that dealt with body language and the computer-like ways children absorb information.
New York City's Juilliard School offered Haack the opportunity to study with composer Vincent Persichetti ; thanks to a scholarship from the Canadian government, he headed to New York upon graduating in 1954. At Juilliard, Haack met a like-minded student, Ted "Praxiteles" Pandel , with whom he developed a lifelong friendship. However, his studies proved less sympathetic, and he dropped out of Juilliard just eight months later, rejecting the school's restrictive approach.
Throughout the rest of his career, Haack rejected restrictions of any kind, often writing several different kinds of music at one time. He spent the rest of the 1950s scoring dance and theater productions, as well as writing pop songs for record labels like Dot Records and Coral Records .Citation needed|date=November 2008 Haack's early scores, like 1955's Les Etapes , suggested the futuristic themes and experimental techniques Haack developed in his later works.Citation needed|date=November 2008 Originally commissioned for a Belgian ballet, Les Etapes mixed tape samples, electronics, soprano, and violin; the following year, he finished a musique concrète piece called "Lullaby for a Cat."Citation needed|date=November 2008 As the 1960s began, the public's interest in electronic music and synthesizers increased, and so did Haack's notoriety.Citation needed|date=November 2008 Along with songwriting and scoring, Haack appeared on TV shows like '' I've Got a Secret and The Tonight Show '' with Johnny Carson , usually with Pandel in tow. The duo often played the Dermatron , a touch- and heat-sensitive synthesizer built by Haack,cite web |title=Bruce Haack 1931-1988 |url= http://www.cantos.ca/blog/2009/07/bruce-haack-1931-1988/ |publisher=Cantos Music Foundation on the foreheads of guests; 1966's appearance on ''I've Got a Secret featured them playing 12 "chromatically pitched" young women.Citation needed|date=November 2008
Meanwhile, Haack wrote serious compositions as well, such as 1962's "Mass for Solo Piano," which Pandel performed at Carnegie Hall , and a song for Rocky Mountain House's 50th anniversary.Citation needed|date=November 2008 One of his most futuristic pieces, 1963's "Garden of Delights," mixed Gregorian chant s and electronic music. This work was never broadcast or released in its complete form.Citation needed|date=November 2008
From Children's Music to Electric Lucifer (1963-1976)
Haack found another outlet for his creativity as an accompanist for children's dance teacher Esther Nelson . Perhaps inspired by his own lonely childhood, he and Nelson collaborated on educational, open-minded children's music. With Pandel, they started their own record label, Dimension 5 Records , on which they released 1962's Dance, Sing, & Listen .Citation needed|date=November 2008 Two other records followed in the series, 1963's Dance, Sing, & Listen Again and 1965's Dance, Sing, & Listen Again & Again . Though the series included activity and story songs similar to other children's records at the time, the music moves freely between country, medieval, classical, and pop, and mixes instruments like piano, synthesizers, and banjo. The lyrics deal with music history or provide instructions like, "When the music stops, be the sound you hear," resulting in an often surreal collage of sounds and ideas.Citation needed|date=November 2008 The otherworldly quality of Haack's music was emphasized by the instruments and recording techniques he developed with the Dance, Sing, & Listen series. Though he had little formal training in electronics, he made synthesizers and modulators out of any gadgets and surplus parts he could find, including guitar effects pedals and battery-operated transistor radios.Citation needed|date=November 2008 Eschewing diagrams and plans, Haack improvised, creating instruments capable of 12-voice polyphony and random composition.Citation needed|date=November 2008 Using these modular synthesizer systems, he then recorded with two two-track reel-to-reel decks, adding a moody tape echo to his already distinctive pieces.Citation needed|date=November 2008 As the 1960s progressed and the musical climate became more receptive to his kind of whimsical innovation, Haack's friend, collaborator, and business manager Chris Kachulis found mainstream applications for his music. This included scoring commercials for clients like Parker Brothers Games, Goodyear Tires , Kraft Cheese , and Lincoln Life Insurance; in the process, Haack won two awards for his work.Citation needed|date=November 2008 He also continued to promote electronic music on television, demonstrating how synthesizers work on The Mister Rogers Show in 1968, and released The Way-Out Record for Children later that year.
Kachulis did another important favor for his friend by introducing Haack to psychedelic rock . Acid rock|Acid rock's expansive nature was a perfect match for Haack's style, and in 1969 he released his first rock-influenced work, Electric Lucifer . A concept album about the earth being caught in the middle of a war between heaven and hell, Electric Lucifer featured a heavy, driving sound complete with Moogs, Kachulis' singing, and Haack's homegrown electronics including a prototype vocoder and unique lyrics, which deal with "powerlove" — a force so strong and good that it will not only save mankind but Lucifer himself. Kachulis helped out once more by bringing Haack and Lucifer to the attention of Columbia Records , who released it as Haack's major-label debut.Citation needed|date=November 2008 As the 1970s started, Haack's musical horizons continued to expand. After the release of Electric Lucifer , he struck up a friendship with fellow composer and electronic music pioneer Raymond Scott . They experimented with two of Scott's instruments, the Clavivox and Electronium . Nothing remains of the collaboration, and though Scott gave Haack a Clavivox, he did not record with it on his own. However, he did continue on Lucifer's rock-influenced musical with 1971's Together, an electronic pop album that marked his return to Dimension 5.Citation needed|date=November 2008 Perhaps in an attempt to differentiate this work from his children's music, he released it under the name Jackpine Savage, the only time he used this pseudonym.Citation needed|date=November 2008 Haack continued making children's albums as well, including 1972's Dance to the Music , 1973's Captain Entropy , and 1974's This Old Man , which featured science fiction versions of nursery rhymes and traditional songs. After relocating to Westchester, PA, to spend more time with Pandel, Haack focused on children's music almost exclusively, writing music for Scholastic Press like "The Witches' Vacation" and "Clifford the Small Red Puppy."Citation needed|date=November 2008 He also released Funky Doodle and Ebenezer Electric (an electronic version of Charles Dickens' A Christmas Carol) in 1976, but by the late 1970s, his prolific output slowed; two works, 1978's Haackula and the following year's Electric Lucifer Book II , were never released.Citation needed|date=November 2008
From Death Machine to Party Machine (1977-1988)
His darkest album to date, Haackula strikes out on into dark, yet playful territory.Citation needed|date=November 2008 Haackula seems to have inspired Haack's final landmark work, 1981's Bite. The albums share several song titles and a dark lyrical tone different from Haack's usually idealistic style. Though Bite is harsher than his other works, it features his innovative, educational touch: a thorough primer on electronics and synthesizers makes up a large portion of the liner notes, and Haack adds a new collaborator for this album, 13-year-old vocalist Ed Harvey.Citation needed|date=November 2008 Haack's failing health slowed Dimension 5's musical output in the early 1980s, but Nelson and Pandel kept the label alive by publishing songbooks, like Fun to Sing and The World's Best Funny Songs, and re-released selected older albums as cassettes, which are still available today. In 1982, Haack recorded his swan song, a proto-hiphop collaboration with Def Jam 's Russell Simmons , entitled "Party Machine". Haack died in 1988 from heart failure, but his label and commitment to making creative children's music survives.Citation needed|date=November 2008 While Dimension 5's later musical releases — mostly singalong albums featuring Nelson — may lack the iconoclastic spark of the early records, Nelson and Pandel's continued work reveals the depth of their friendship with Haack, a distinctive and pioneering electronic musician.
Influence
Haack has been cited as an influential musician to many electronic and other types of musicians.
In 2004, a documentary film about Bruce Haack titled Haack: The King of Techno , was directed by Philip Anagnos. It premiered at the Slamdance Film Festival , distributed by Koch Vision and televised on DOC: The Documentary Channel . The program features interviews with some of Haack's associates and collaborators such as Esther Nelson and Chris Kachulis as well as contemporary artists including Eels (band)|Eels , Mouse On Mars , Money Mark and Peanut Butter Wolf . Additionally, the film includes archival footage of Haack's appearances on various talk shows and Mister Rogers' Neighborhood .
In 2005, a tribute album was released titled Dimension Mix , featuring covers of Haack songs by Beck , Stereolab , The Apples in stereo , Oranger and others. The album was produced by Ross Harris (actor) and was a benefit for Cure Autism Now .
In 2006, Cut Chemist sampled Bruce Haack's track "School For Robots" on his debut album The Audience's Listening .
It has been proffered that Bruce Haack's influence has been bolstered by the fact that he flies under the mainstream media's radar. http://passionweiss.com/category/bruce-haack/
Discography
Albums
Recorded
Released
Album
UK
US
Additional information
1962
1963
Dance Sing and Listen
-
-
align="left" valign="top"
1963
1964
Dance Sing and Listen Again
-
-
align="left" valign="top"
1963
1965
Dance Sing and Listen Again and Again
-
-
align="left" valign="top"
1967
1968
The Way Out Record for Children
-
-
Identified by Nick DiFonzo as having one of the worst album covers of all time.Nick DiFonzo, The WORST album covers in the world...EVER& #33; London, UK; New Holland Publishers , 2004 at p. 38. The album cover may be viewed http:/ / www.brucehaack.com/ wayout.asp here; www.brucehaack.com.
1968
1969
Electronic Record for Children
-
-
align="left" valign="top"
1969.12.25-1970.01.01
-
Electric Lucifer Book III - i.f.o.
-
-
vocals by Chris Kachulis, original material unreleased.
Unreleased because of content. Later issued in 2008
1978
-
Electric Lucifer Book II
-
-
post released in 2008
1980
1981
Bite
-
-
Contains numerous "toned-down" verions of Haackula tracks, features a 13-year-old vocalist, Ed Harvey .
1981
1982
Zoot Zoot Zoot - Here Comes Santa in his New Space Suit
-
-
Title track sung by Tiny Tim (musician)
Singles
Les Etapes (1955) - (music concrete). A 3 movement ballet scored for electronics, soprano and violin. Commissioned by Belgian TV. Choreographed by Valentina Belova and originally danced by Maurice Bejart's Ballet of the 20th Century. Possibly created 1954 or 1956.
Lullaby for a Cat (1956) - (music concrete) Created on a Wollensak tape recorder. A master tape of this composition exists.
Satellite - Coral Records (w/ Teresa Brewer ) (1958)
Sea Shell - Coral Records (w/ Teresa Brewer ) (1959)
So I Said - Dot Records (w/ Milton DeLugg And His Orchestra (1960)
Garden Of Delights (1964) - Gregorian chant mixed with electronic music. This work was never released or broadcast in its entirety. Bruce enjoyed playing this tape for friends and was extremely proud of the work. Tape exists and planned for future release.
Kraft Foods|Kraft Cheese "Once Upon A Time" (1969)
Stevens Utica No-Iron Sheets (1969)
Lincoln Life Insurance (1969)
The Witches Vacation - Scholastic Magazine/Records (1974)
Clifford the Small Red Puppy - Scholastic Magazine/Records (1974)
A Picture for Harolds Room - Scholastic Magazine/Records (1976)
Television, radio, theater
I've Got a Secret (1960) - Gary Moore with Bill Cullen, Henry Morgan, Carol Burnett celebrity guest. Bruce played his Dermatron electronic instrument on Ted Pandels forehead, while Ted played a song on the piano "Jet, My Love"
How to Make A Man (1961) Broadway Show. Opened 2/2/61, Brookes Atkinson Theatre. Incidental music and title song. Starring Tommy Noonan, Barbara Britton, Peter Marshall, Vicki Cummings
The Kumquat in the Persimmon Tree (Sept/June 1962) Off Broadway Show. Lyrics by Charles Copenhaver
Windsong Composition for Orchestra (year unknown). Performed by Calgary Symphony during 60's
Mass For Solo Piano (1963) Solo piano composition. Premier performance at Carnegie Hall, pianist Praxiteles Pandel
Mass For Solo Piano (1964) Performed by Praxiteles Pandel at Carnegie Music Hall, Pittsburgh, Pennsylvania.
Gloria for Solo Piano (1965) Premiered Jordan Hall, Boston, pianist Praxiteles Pandel and later Brooklyn Museum and Town Hall, New York City
The Mike Douglas Show (1965) - Bruce plays Dermatron
The Tonight Show - Johnny Carson (1965) - Bruce plays Dermatron
I've Got a Secret Steve Allen (1966) - Guest Victor Borge played the Dermatron on 12 girls, each 'pitched' chromatically
Merv Griffin's Play Your Hunch (1966) - Ted Pandel plays forehead of friend Joan Milkson with Dermatron
WBAI Radio Documentary: Bruce Haack Music Maker (1966) - Chris Albertson interviewed Bruce and sampled works including sections of 3 majors works; Les Etapes, Mass for Solo Piano and Garden of Delights
Mister Rogers Neighborhood (1968)
CKUA Canadian radio (1970) - Interview with Bruce promoting The Electric Lucifer
Listen Compute Rock Home - Emperor Norton Records (1999)
Rough Trade Shops - Electronic 01 - Mean Old Devil - Mute Records (2002)
Dimension Mix|Dimension Mix: A Tribute to Dimension 5 Records - Eenie Meenie Records (2005)
Badd Santa - I Like Christmas - Stones Throw Records (2007)
Farad - The Electric Voice - Stones Throw Records (2010)
Bruce Haack Remixed - Stones Throw Records (2012)
References
cite web |title=Biography |url= http://brucehaack.com/bruce-haack/ |publisher=Bruce Haack Publishing
cite web |title=(old) BIOGRAPHY |url= http://www.brucehaack.com/story.asp |work=BRUCE HAACK MUSIC |publisher=Lucky Hill Productions |archiveurl= http://web.archive.org/web/20080603022718/ http://www.brucehaack.com/story.asp |archivedate=June 3, 2008
Reflist
External links
http://www.brucehaack.com/ Bruce Haack Web
imdb title|id=0306836|title=Haack: The King of Techno (2004)
Persondata | NAME = Haack, Bruce | ALTERNATIVE NAMES = | SHORT DESCRIPTION = Canadian musician | DATE OF BIRTH = May 4, 1931 | PLACE OF BIRTH = Nordegg, Alberta, Canada | DATE OF DEATH = September 26, 1988 | PLACE OF DEATH = Westchester, Pennsylvania|West Chester , Pennsylvania|PA , United States|USA DEFAULTSORT:Haack, Bruce Category:1931 births Category:1988 deaths Category:People from Clearwater County, Alberta Category:Canadian electronic musicians Category:Canadian people of Norwegian descent Category:Columbia Records artists Category:Outsider music Category:Musicians from Alberta
de:Bruce Haack it:Bruce Haack sv:Bruce Haack
Copyright Citations
This article is licensed under the GNU License
Click here for original article: Bruce Haack
