Every Tuesday they used to broadcast these things. I looked over to where Bob Gioga was sitting and offered his horn back; he just waived his hand, as if to say, 'No thank-you.' Anyway, I survived, and Stan said, "Let's go.' I called home and said, 'I'm going with the Kenton band, and—by the way—could you send me enough money for a baritone sax?'"

After a six-month tenure with the band. Hank returned home to the family business. It was during this time that he became more determined to develop his compositional talents, and began to focus his efforts in that direction. In 1958, he got his first commission when Sal Salvador, a friend from the Kenton band, hired him to write for Sal's all brass big band in New York. Hank contributed many charts over the next three years and experienced the thrill of having his music recorded lor the first time.

Around this time, Dave Bruheck's album Time Out featured odd-meter compositions. Then, the 1962 Grammy Award winning album, Adventures In Time: A Concerto for Jazz Orchestra, was released by the Stan Kenton Orchestra. This album, written and arranged by Johnny Richards, acted as a catalyst for Hank's experiments in odd-meter music. At the same time, Hank was studying Bartok quartets and Stravinsky's works. To try his forays into odd meters. Hank organized his own rehearsal band. His lead trumpet player, (Glen Stuart, met trumpeter Don Ellis on a summer time tour. At the time, Don was studying Indian tabla playing, a rhythmically complex musical form. Later, when Don formed his own band in California, he hired Glen to play lead trumpet, (Glen called Hank and said. "You and Don are experimenting along the same lines. Why don't you send us some charts?" As a result, Hank started writing for Don Ellis' band in 1965 and continued for the next ten years.

During this period, Towson State College had organized a ten or eleven piece stage band. Hank was hired to write, conduct, and provide a direction for the jazz. program, as well as to build a jazz library. Since he had not finished a college degree, the faculty listed him as a Visiting Guest Lecturer with the stipulation that he finish a music degree at the college. While keeping up with teaching and composing, he took classes the next two years—often sitting beside his own students!

Stan Kenton heard Hank's Towson State College ensemble performing the music Hank wrote for Don Ellis' band at the Intercollegiate Jazz Festival in Quinnipacc, Connecticut. Stan. a fan of Don Ellis, hired Hank to wirite for the Kenton ensemble. They continued to collaborate until Stan's death in 1979. Hank frequently served as guest conductor for live performances and recordings of his own music, and as an instructor and host for the Kenton clinics, which were held nationwide.

The Levy name began to attract students from around the country to Towson State, and the growing program attracted the attention of the music department chairman. Hank was summoned to the chairman's office where he was told, "Mr. Levy, we do not want to be known as a jazz college.' " Hank replied, "Sir, you are too late."

Hank retired from Towson State University in 1991. but continues to write by commission. Many of his older works are available through a variety of publishing companies. He directs the Towson State Alumni Jazz Ensemble and is also active with several rehearsal bands in the Baltimore area. On February 25, 1997, Hank Levy was appointed Professor Emeritus at Towson State, continuing his long-standing and esteemed relationship with the school. He and his music continue to be an inspiration to students and professional musicians alike.