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Hartford's Own

Tony Harrington

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"some people turned on their television sets to see the beginning of the game. I could not disappoint them. "

He Squarely placed his name on the marquee, Tony Harrington & Touch, in the same way an artist signs his name to a piece of art. As if to say, whether you like it or not, it is what it is. My name is Tony Harrington and I am here to sing for you. Whether it was for a packed civic center as he basked in the glorious moments when he sang the National Anthem for the Hartford Whalers or delivering a smooth R&B song in the dimly light ambience of a nightclub; it is safe to say that he is doing what he truly loves to do, sing. I got the opportunity to talk to Tony earlier this year and the end result was an insight into his musical roots and the process that helped shape him as a vocalist.

For more information on the artist visit www.tonyharrington.com

By: Lionel Crawford

LC: How do you define what you do?

Tony: Basically, I believe myself to be a social worker, advisor, motivator, singer, teacher, and educator and change agent!

LC: At one point in your career, Tony Harrington and Touch could well have been known as Tony Harrington and The Whalers… (laughs). I am joking here, of course, but realistically, you were a fixture with the Hartford Whalers organization for quite some time. Tell me, if you will, about those years.

Tony: It was great. In the white community I was recognized for my contributions to the NHL and the Hartford Whalers. When I went to Canada I was recognized and respected. That brought along a significant amount of respect from others including supervisors etc. In fact, during this period I believe African Americans in the Hartford area looked at me favorably because I was the only person of color doing a good job and recognized for it in a predominately white sport. I think some people turned on their television sets to see the beginning of the game. I could not disappoint them.

LC: Singing the national anthem in a civic center is serious business; the first reflections or echoes can destroy many a gifted singer, however you seemed to do very well in that environment. How did you maintain your cool?

Tony: I took it very serious. I looked at it as developing ground for me. I sang every game I was supposed to and that has enabled me to believe under any circumstances I will prevail in getting the job done. It has been channeled in the band as well. There have been many instances when I lost my voice but took care of myself to the full extent possible and just got through it. The same holds true for the many times players became unavailable hours before an important gig. I have been able to deal or find a substitute in order to complete the job in a professional manner.

I never assumed I would do well. Each performance was an individual performance that required preparation and dedication.

LC: Seeing that they are so many "oops, did I just forget the words?" T.V bloopers out there, where some well intended singers met with some sad, for them, but funny for us, results; Can you share with us, a funny moment that occurred when you were singing the Anthem?

Tony: Many times I asked myself after completing the anthem whether or not I sang the wrong line. I in fact did not but sometimes when the crowd was aroused or just loud I would concentrate on beating them to the punch and I would become a bit more nervous than usual. However, there was an instance when I decided to sing the Canadian anthem in French around New Year’s Eve. What happened was we were playing in the Civic Center from say 5-7 and then I ran out to sing the anthem. I started out okay and then forgot the words. The crowd was stunned (but not more than me)! I hummed along because there was no way anyone could help me. There were many mouths trying but I could hear nothing. I died two deaths on the ice that night. But then something great happened. After what seemed an eternity I latched onto the remaining lines and finished strong. I tore the last section up and the crowd was very appreciative. They always enjoyed me taking the challenged of singing in another language and I enjoyed it as well. That was the first and only time thus far that I lost it. I don’t know how many times I have sang the anthem but I have been singing it regularly since August 1984. I am very proud of my involvement and feel very patriotic as a result.

LC: How did you become interested in singing and did you come up singing in the church or nightclubs like most R&B singers?

Tony: I came up singing in church. When I was 11 years old, Rhani and I along with my brother and his sister formed the H & H singers. We used to sing in Hartford, CT and Springfield, MA. Then we formed a band while we went to Westminster School during the summer before high school.

The difference with me is that I didn’t get serious or busy with groups until I joined Sounds of the North End in 1973. My problem was that I was more a classical singer at that time. Ms. Campbell, who was the choir director and others at Hartford Public High School, were giving me singing opportunities but they were for Madrigal Singing and stuff like that. So when I joined a band everybody used to look at my nose and ask me why my nose always expanded when I sang. That infuriated me!

LC: I suppose that the nose expanding has something to do with Madrigal singing or training technique, right?

Tony: I guess it does have something to do with my singing earlier on in my career while singing for Dr. Mack who headed up the Hartford Youth Chorale Ensemble. I loved singing those songs. You know, now that I think of it, it is probably one reason why I have sought to challenge myself to learn songs in other languages. I never thought about this before you posed the question. Hmm…..

LC: It was always easy for us to spot singers that were trained in a formal setting even if they had soul. They were always taught to annunciate and breath right and be prim and proper but singing in a band taught you how to get it right as far as the feeling and soul was concerned. You certainly put in the time in both places.

Tony: You know that’s interesting. I love to sing and I love for the songs that I perform to mean something to the audience that I perform for. I’m what is termed old school in that sense. Songs have to have meaning. I was just on a radio show with (John) Sabastian and he was arguing with me about the ending of the anthem and he felt it should not be moved in any way, shape or form. My argument was that I am an emotional singer and I sing best when I can articulate through that forum of understanding. I’d actually like to be more emotional. I think I am in too much control. I’d prefer to let loose-I just can’t bring myself to that point. Anyway, back to Sabastian. I told him that I sing with emotion and spirit. He said the anthem is not a spirited or emotional song. I questioned him on that and stood my ground because I interpret the song with a mild diversion of the standard manner of singing it. That’s me.

LC: Lets talk about your band, Touch, for a moment. Several gifted musicians have played with your band over the years, can you talk about some of them here for the readers who may not be familiar with the present and past line up?

Tony: Ethan Mann was one player who I enjoyed performing with. He was a guitar player who moved to NY for bigger and better projects. Odel Crawford was also another gifted player on keyboards. Steve Muse brought the keyboard bass feel to the group. He could have been a permanent fixture with the group but that’s how things work out. You, Lionel Crawford, was also a former player with the group on guitar. In your capacity as a very creative force I believe you never got your due with this group. Your strength, in my opinion, is your artistry, your creativity and your challenge to make innovative beginnings and endings to songs so they flow with precision and professionalism. Scott Dawley on keyboards was another great player, performer with this group. Chris Davis is arguably the finest pound for pound keyboard player that has entered this group. Carnegie Clapp from Waterbury, has also played for us in our early years. Sonny Respass was a phenomenal saxophone player who worked with us for approximately 7 or 8 years. Patricia Thompson was with the group since our inception until about three years ago. She was and still is a great performer with a very special gift and is one of the greatest singers this region has produced. Anika Rose, who just won a Tony Award two years ago, performed for our group for a few years in between attending Florida A & M University. I knew she would be something. She had vision, talent, determination and IT. She had IT and ultimately the right people saw IT. Now she is off and running. She came to a show last year that I performed in. I felt like now I am the student. It was a very interesting revelation.

LC: I remember Anika. We all worked together on the material for Fleet Bank. I remember her rendition of Gloria Estafan's "Get On Your Feet". She tore the place up. She is a beautiful person.You just brought back memories. Also, Chris is a hell of a player. You have had some great musicians in your band over the years. There are players that come and go, sidemen so to speak, but what about the nucleus of the group, those guys that are certified, that have always been there?

Tony: actually, I have the distinction of working with some of the best musicians in this area right now! On vocals one of the original members of Tony Harrington & Touch is Ms. Daphne Falconer. She keeps us close to our roots. Her style exemplifies a mixture of reggae with neo-soul influence. Also, I have worked with Phil Franco on Drums, John “Noodle” Nevin on Bass, Dan McNamarra on Keyboards and Saxophone and you and Tony Lee on Guitars. Vocalist Patricia Thompson and Barbara Fowler sit in with the band occasionally and bring an enormous level of experience and talent to the group.

Lionel: Let me change the subject and ask you where did the name Touch come from?

Tony: Scott Dawley named the group many years ago and it stuck.

LC: Let’s talk a bit about your singing style. You seem opened to anything, like the time you did a rendition of Prince’s “The Most Beautiful Girl In The World” completely using falsetto and you are a Baritone, right? Your style can easily be compared to that of singers James Ingram, Larry Graham or Lou Rawls. Would you agree?

Tony: Yes. Unfortunately, I stopped growing at the pace I needed to in this group. I need rehearsal. I’m just not a wood shedder. I grow in practice but we don’t do that often so I’m sort of stuck right now. I love singing many styles. I think that is one reason why I gravitated to learning other languages when I had the opportunity to sing national anthems for other nations.

LC: Quick! Name 3 of your favorite singers?

Tony: You just named all three of my favorite singers!

LC: Woooooh. Okay, okay…then tell me why they are your favorites?

Tony: Lou Rawls because he sang songs that I enjoyed and they all had meaning. They told stories. Larry Graham because he sang from the heart. I sing best when I can feel the song. James Ingram I absolutely love because he has the flexibility in his voice I once enjoyed but now dream about.

LC: Well you know I had to bring this up; track nine from the Marion Meadows “Next To You” CD, can you share the experience of cutting that lead vocal on “Spend My Life” and is there anything similar in the works?

Tony: Yes, if we can put something together. I honestly feel I have deprived myself by not taking advantage of the studio I have continued to update but not record in. There is something in the works with my cousin and it may very well happen-but you know how that goes. I have had people email me from Detroit and other places who absolutely enjoyed that song. I just wish I could have parlayed that into something else.

Lionel: Well you already know how much I like the song, plus I love the production polish your cousin, Yasha, used on the production to make the rhythm tracks shine and you and Marion were great. Tony thanks for stopping by.

Tony: Lionel, thank you for asking me these questions, it has been rewarding for me to go back and retrace some of these experiences. I have been very fortunate to work with some very talented people. The good news is that I still enjoy performing and I want to continue if I can for as long as I can.

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This page was last updated on: April 16, 2007

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