Initially, I did not consider making a career in the arts. I got a B.A. in Sociology from Carleton University and took a position in the Canadian Federal Government working as a Job Placement Counselor in a Toronto Canada Manpower Centre. This led to a number of positions in occupational research, first on a Canadian Dictionary of Occupations and later in the collection and interpretation of occupational data for Statistics Canada.
Meanwhile, I continued to compose and take music courses in my spare time.
However by the mid 1970s, I realized I would be happier devoting myself to music full time and left my Government employment to follow that career. The San Francisco Conservatory of Music offered me the best combination of music theory, history and composition courses I was seeking and I chose to study there. This began a life of commuting back and forth from my home in Ottawa to San Francisco that would continue for many years.
My experience at the Conservatory was profoundly eye-and-ear opening. I experimented with serial and electronic music, though never found either especially emotionally engaging and took classes with the now famous John Adams whose minimalist style of writing I found intriguing but not enough so to explore personally. He did teach me to take chances in my writing by going beyond what I could physically perform or hear clearly in my head. This was liberating artistically and helped me grow professionally. However it was Dr. Sol Joseph's classes in harmony, counterpoint and form and analysis, that gave me the skills to study and learn from the scores of the great masters that I found most invaluable.
After leaving the Conservatory, by a serendipitous referral of a friend, I began working with Jim Heisterkampf, an amazing poet, humorist, craftsman, street artist, founder of his own religion for people who drank beer religiously, political activist and small time publisher. He was convinced that fame and fortune awaited the writers of the next great Christmas song, and together we embarked on a path to make that happen. We wrote several Christmas songs together which later became the basis for my musical revue, "Never a White Christmas," a satirical and warmhearted salute to the holiday in snow-less San Francisco. Though fame and fortune eluded us, the now well-known cabaret singer, Wesla Whitfield, recorded four songs from that review and the title song won first prize in a San Francisco Christmas song contest.
At the same time, I began studying contemporary song writing and arranging with Gary Remal, a fine studio musician and film composer, and took jazz theory classes with Jim Grantham, another excellent musician and teacher. I also joined Songwriters Resources and Services (SRS), a songwriters support group and learned a lot about the art of crafting a good lyric, and the ins and outs of the music business.
In the 1980s, I took on a few piano students and began writing teaching music for them. This led me to compose a number of pieces designed for students, many of which were later published by Schaum, Willis and The Boston Music Companies. My students often assisted me by supplying titles, suggestions, and in proofreading my manuscripts for typographical errors. Some even inspired compositions, or took delight in being the first ever to play a new piece.
My focus on teaching music also led me to compile a classical music, and later holiday season fake book, both published by Mel Bay. ( The term "fake book" refers to a shorthand form of writing music, featuring only the melody line with accompanying chord symbols from which a knowledgeable jazz or pop performer may "fake" or improvise his or her own arrangement. ) I was particularly proud of the latter publication. It contained two hundred traditional Christmas, Chanukah and New Year's selections, covering eight centuries and over forty countries; lyrics in close to two dozen languages, including many original English singing translations; and arrangements re-harmonized to suit contemporary sensibilities and piano technique.
Also in the 1980s, I started my own tiny non-profit musical theater group, the "West Coast Broadway Players" We focused on performing small productions for the elderly and disabled, for a nominal fee and frequently for no more than refreshments and the contented smiles of our audience. We performed standards as well as original songs I composed with various lyric writers. I acted as accompanist, publicist, booking agent and everything related. Although it was emotionally satisfying, it was also extremely time consuming and often difficult to get singers essentially to work for free. Therefore, we disbanded the group at the decade's end. Highlights of our company's career were two shows, "Never a White Christmas" previously noted with a cast of four singers and a mini-musical with only two players appropriately entitled, "It Only Takes Two." Dennis Goza, who now has his own children's theater company, "Activated Storytellers," performed in it, and wrote the book and most lyrics. We also later co-wrote many songs for Goza's theater company.
Also during this very productive time, I co-wrote a children's musical play with Jack Boaz, a friend and author who grew up in The Netherlands. He introduced me to a collection of delightful Dutch Saint Nicholas songs which we translated together into English, and I arranged for voice and piano. He then wrote a musical play incorporating them into the story. Entitled "Saint Nicholas Bag", it was performed by a Vallejo children's theater company.
In the early 1980s, when the photocopy machine was novel, I would make and photocopy whimsical drawings for friends and colleagues. These were to be appreciated briefly and discarded like so much in our disposable culture.