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Jack Hayes

Pictured right, Jack Hayes. The following are introductory remarks made by Arthur Hamilton at the 2009 SCL Holiday Dinner:

In what many think of as the great days of music in films, if you were a film composer, you made three prayers: one was for a producer who knew something about music, two was for a big enough orchestra, and the third prayer you made was that Jack Hayes would be available to orchestrate for you.

For more than 50 years, Jack Hayes made the chases more thrilling – the jokes funnier – the sex  sexier.  From a sketch, he was somehow able to articulate what the composer had in mind.  He found – and corrected – mistakes.   And, he always got it done on time.

He and his partner, Leo Shuken, were the first call for every composer, every studio music department head, and every enlightened film producer. Shuken and Hayes owned this town, and we’ve spent a whole lot of our lives listening to their inspired work.

Tonight, we can see Jack Hayes, and shake his hand, and tell him how much he has meant--and still means--to  us, and to welcome him as an Ambassador of the Society of Composers & Lyricists.
The following are remarks by SCL President Dan Foliart:

Among the many missions of the SCL, none is more important than celebrating and raising the awareness of those who have contributed significantly to our profession. Without Jack Hayes, the body of work left behind by many of our luminaries past and present would be lacking many of the essential qualities that makes it what it is. We marvel at the magic that Jack so seamlessly brought and continues to bring to the scores with his unmistakeable orchestrations. My personal experience with Jack’s music goes back to the days when I first met Charlie Fox. Howard Pearl and I were asked to rerecord many of the cues written by Jack and Charlie, as well as to compose any new material that might be needed for the last three years of Happy Days and Laverne and Shirley. What an education. Jack’s craft became immediately apparent with his masterful orchestrations and the lively spirit embodied in his original compositions that are still playing to this day. In a word, he was a hard act to follow.

I remember studying with the great teacher and orchestrator, Albert Harris. There was a unique combination of trumpets and woodwinds that I brought into a lesson. For the life of me, I couldn’t figure out what the texture was. Dr. Harris, as I addressed him, told me to bring in the album from Burt Bacharach and Hal David’s Lost Horizon so he could see who did the orchestrations. Of course it was Jack Hayes who, along with Burt, had created this wonderful passage. From that point on I wanted to learn more about Jack and his amazing talent. I spent a summer in the Paramount stacks perusing the scores, thanks to Bob Bornstein. Much of Jack’s work was found in this music. Just a small sampling of his amazing work as an orchestrator spans the history of cinema over the last 60 years. The Natural, The Greatest Story Ever Told, Gun Fight at the OK Corral, The Comancheros, Riverboat, Donovan’s Reef, The Joker is Wild, Hawaii, Casino Royale, Butch Cassidy and the Sundance Kid, Kings Go Forth, Experiment In Terror, Camelot,?In Cold Blood, ?The Swimmer,? ?Marathon Man, ?High Anxiety, ?Comes A Horseman, ?Meteor, ?Brubaker, ?Ordinary People, ?The Elephant Man, ?Ragtime, ?Star Trek Ii: The Wrath Of Khan, Parenthood, ?Pretty Woman, ?Avalon, ?Awakenings, ?Robin Hood: Prince Of Thieves, ?Son Of The Pink Panther, ?Maverick,? and ?Mission: Impossible 3.

As an arranger and orchestrator he has worked with Barbra Streisand, Diana Ross and Louie Belson among many others.

As a composer for television, Jack scored Fade-In and Fast Forward and also composed the scores for such favorites as The Virginian and Quincy. He received an Oscar nomination for his musical adaptation of The Unsinkable Molly Brown and for his work on the Color Purple.

The list of composers that he has worked with are too numerous to mention, but just a few are Burt Bacharach, Elmer Bernstein, Marvin Hamlisch,Quincy Jones, Michael Kamen, Henry Mancini, John Morris, Alfred Newman, Randy Newman and, of course, Lalo Schifrin. 

He was requested by Bernard Hermann to conduct and assist him on the score for Taxi Driver when the maestro’s health began to falter. We are fortunate to have the latest admirer of Jack Hayes talent with us this evening, Michael Giacchino. Michael has incorporated Jack’s magic into many of his scores including the Oscar nominated Ratatouille, the Incredibles, and this year’s incredible score that the SCL was fortunate to screen recently, Up. As a testimonial to what Michael feels about Jack, Cheryl and I were recently at his house and the showcase piece of his living room is a glass table framing an orchestration by Jack Hayes. Would you help me welcome this year’s Golden Globe and 4 time Emmy nominee Michael Giacchino.

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