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betty carter
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Tribute to the jazz singer Betty Carter who died on September 26, 1998.
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Apr 7, 2006
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Other links at Music Styles > vocal > singers > jazz > C > betty carter
1. betty carter
Tribute to the jazz singer Betty Carter who died on September 26, 1998.
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Interview: Betty Carter: Still taking risks;
by Seth Rogovoy
(WILLIAMSTOWN, Mass., Nov. 14, 1997) -- While it has perhaps been a long time in coming, the world has generally caught up with Betty Carter, an artist before her time if there ever was one. But now, with multiple Grammy nominations in her pocket, with props from the White House -- President Clinton awarded her one of 11 National Medals of Art last month -- and with critical recognition ranging the gamut from "the most original jazz singer alive" to "the best jazz singer in the world," how does Carter feel about the view from her vantage point at the pinnacle of jazz?
Not good, as it turns out. While Carter, 67, acknowledges that she is enjoying the fruits of her labors after 50 years on the road, it is only through her sheer persistence, she thinks, that she is finally getting her due.
"Jazz is not a nice word today," said Carter -- who performs with her trio tonight in Chapin Hall at Williams College at 8 -- in a recent phone interview from her home in Brooklyn.
"Because jazz doesn't make money quickly, a lot of people in power are not encouraging young people to really use the word `jazz,'" said Carter, who was awarded an honorary degree at Williams last June ...
by Seth Rogovoy
(WILLIAMSTOWN, Mass., Nov. 14, 1997) -- While it has perhaps been a long time in coming, the world has generally caught up with Betty Carter, an artist before her time if there ever was one. But now, with multiple Grammy nominations in her pocket, with props from the White House -- President Clinton awarded her one of 11 National Medals of Art last month -- and with critical recognition ranging the gamut from "the most original jazz singer alive" to "the best jazz singer in the world," how does Carter feel about the view from her vantage point at the pinnacle of jazz?
Not good, as it turns out. While Carter, 67, acknowledges that she is enjoying the fruits of her labors after 50 years on the road, it is only through her sheer persistence, she thinks, that she is finally getting her due.
"Jazz is not a nice word today," said Carter -- who performs with her trio tonight in Chapin Hall at Williams College at 8 -- in a recent phone interview from her home in Brooklyn.
"Because jazz doesn't make money quickly, a lot of people in power are not encouraging young people to really use the word `jazz,'" said Carter, who was awarded an honorary degree at Williams last June ...
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Betty Carter: Page devoted to the last great jazz diva. Biography, extensive discography with reviews.
Long regarded by jazz insiders as perhaps the consummate jazz vocalist of the late 20th century, Betty Carter represented all that was right with jazz singing. Her adventurous scat style and distinctive interpretations put her on par with the other great ladies of jazz - Ella Fitgerald, Sarah Vaughn, Billie Holiday and Carmen McRae. In addition to her singing, she also helped nurture and develop many young musicians who have gone on to develop stellar jazz careers. In 1991, she was granted an award by the NEA, and in 1997 she was invited to the White House to perform and receive a Presidential honor for her work. The death of Ms. Carter from pancreatic cancer on September 26, 1998, brought to a close a remarkable career spanning nearly fifty years.
Betty Carter was born Lillie Mae Jones in Flint, Michigan, on May 16, 1930. At a young age, she began the study of piano at the Detroit Conservatory of Music, and by the time she was a teenager she was slready sitting in with Charlie Parker and other bop musicians when they performed in Detroit. After winning a local amateur contest, she turned professional at age 16, hooking up with the Lionel Hampton band by 1948, billed as Lorraine Carter. Hampton was the man who hung the nickname 'Betty Be-Bop' on her (a nickname she hated, as she found bebop limiting and wanted to do more than just scat), but it stuck, and ultimately she changed her stage name to Betty Carter. At the age of 21, she traveled to New York with the Hampton band and set up home there ...
Homepage of vocalist Carter, also known as "Betty Be-bop".
Long regarded by jazz insiders as perhaps the consummate jazz vocalist of the late 20th century, Betty Carter represented all that was right with jazz singing. Her adventurous scat style and distinctive interpretations put her on par with the other great ladies of jazz - Ella Fitgerald, Sarah Vaughn, Billie Holiday and Carmen McRae. In addition to her singing, she also helped nurture and develop many young musicians who have gone on to develop stellar jazz careers. In 1991, she was granted an award by the NEA, and in 1997 she was invited to the White House to perform and receive a Presidential honor for her work. The death of Ms. Carter from pancreatic cancer on September 26, 1998, brought to a close a remarkable career spanning nearly fifty years.
Betty Carter was born Lillie Mae Jones in Flint, Michigan, on May 16, 1930. At a young age, she began the study of piano at the Detroit Conservatory of Music, and by the time she was a teenager she was slready sitting in with Charlie Parker and other bop musicians when they performed in Detroit. After winning a local amateur contest, she turned professional at age 16, hooking up with the Lionel Hampton band by 1948, billed as Lorraine Carter. Hampton was the man who hung the nickname 'Betty Be-Bop' on her (a nickname she hated, as she found bebop limiting and wanted to do more than just scat), but it stuck, and ultimately she changed her stage name to Betty Carter. At the age of 21, she traveled to New York with the Hampton band and set up home there ...
Homepage of vocalist Carter, also known as "Betty Be-bop".
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Betty Cater's jazz ahead:
The John F. Kennedy Center for the Performing Arts will present Betty Carter's Jazz Ahead, the music residency program for young people, April 12-22, 2006, at the Kennedy Center in Washington, DC. The Jazz Ahead program identifies outstanding, emerging jazz artists in their mid-teens and twenties, and brings them together under the tutelage of experienced artist-instructors who coach and counsel them, helping to polish their performance, composing and arranging skills.
The week-long residency program will include daily workshops and rehearsals with established jazz artists, and will culminate in three concerts on the Kennedy Center Millennium Stage which will be broadcast live over the internet ...
Program at the Kennedy Center named for Carter, identifies outstanding, emerging artists. Link to Real Player interviews about Carter, her influence and contribution to jazz.
The John F. Kennedy Center for the Performing Arts will present Betty Carter's Jazz Ahead, the music residency program for young people, April 12-22, 2006, at the Kennedy Center in Washington, DC. The Jazz Ahead program identifies outstanding, emerging jazz artists in their mid-teens and twenties, and brings them together under the tutelage of experienced artist-instructors who coach and counsel them, helping to polish their performance, composing and arranging skills.
The week-long residency program will include daily workshops and rehearsals with established jazz artists, and will culminate in three concerts on the Kennedy Center Millennium Stage which will be broadcast live over the internet ...
Program at the Kennedy Center named for Carter, identifies outstanding, emerging artists. Link to Real Player interviews about Carter, her influence and contribution to jazz.
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Remembering Betty Carter,
By Sandy Carter:
As with the passings of most jazz performers, the death of singer Betty Carter (age 69) from pancreatic cancer in late September of last year was little noted in the mainstream press. Although jazz is often applauded as America's greatest indigenous art form, an African-American defined genre that commands only 5 percent of the music marketplace finds even its masters ignored outside the small insider world of jazz musicians, critics, and fans.
In the last decade there has been growth in the popularity and respectability of the jazz art. Picking up on various jazz/hip hop fusions, the steady stream of jazz album reissues, and the recent resurgence of swing, a younger fan base has emerged to appreciate jazz as "outsider" art and a "new" statement of cool. The major label music industry's promotion of young lions such as Roy Hargrove, James Carter, and Joshua Redman and esteemed elders such as Joe Henderson, Abbey Lincoln, and Shirley Horn has also widened the commercial niche of mainstream jazz. Certainly the broad musical appeal and relentless advocacy of trumpeter Wynton Marsalis has earned the heritage new respect and acceptance.
Nonetheless, in this same period, the demise of the jazz club (a venue seating 100 to 300 listeners and booking jazz four to seven nights weekly) has made national touring for most jazz acts virtually impossible. Except for jazz festivals, which offer a relatively affordable, relatively populist summertime setting for the music, live jazz has no place to go but the fine arts center, the university, or the pricey museum-stiff supper club. Aside from its use as a backdrop for conspicuous consumption, jazz is almost totally absent from commercial TV and radio. As a result, the health of jazz--as music, as cultural expression, as commodity--is open to question ...
Z-Magazine article - "An amazingly powerful, dramatic singer with very definite ideas about the essentials of authentic jazz, Carter maintained an uncompromising musical vision..." (January, 1999).
By Sandy Carter:
As with the passings of most jazz performers, the death of singer Betty Carter (age 69) from pancreatic cancer in late September of last year was little noted in the mainstream press. Although jazz is often applauded as America's greatest indigenous art form, an African-American defined genre that commands only 5 percent of the music marketplace finds even its masters ignored outside the small insider world of jazz musicians, critics, and fans.
In the last decade there has been growth in the popularity and respectability of the jazz art. Picking up on various jazz/hip hop fusions, the steady stream of jazz album reissues, and the recent resurgence of swing, a younger fan base has emerged to appreciate jazz as "outsider" art and a "new" statement of cool. The major label music industry's promotion of young lions such as Roy Hargrove, James Carter, and Joshua Redman and esteemed elders such as Joe Henderson, Abbey Lincoln, and Shirley Horn has also widened the commercial niche of mainstream jazz. Certainly the broad musical appeal and relentless advocacy of trumpeter Wynton Marsalis has earned the heritage new respect and acceptance.
Nonetheless, in this same period, the demise of the jazz club (a venue seating 100 to 300 listeners and booking jazz four to seven nights weekly) has made national touring for most jazz acts virtually impossible. Except for jazz festivals, which offer a relatively affordable, relatively populist summertime setting for the music, live jazz has no place to go but the fine arts center, the university, or the pricey museum-stiff supper club. Aside from its use as a backdrop for conspicuous consumption, jazz is almost totally absent from commercial TV and radio. As a result, the health of jazz--as music, as cultural expression, as commodity--is open to question ...
Z-Magazine article - "An amazingly powerful, dramatic singer with very definite ideas about the essentials of authentic jazz, Carter maintained an uncompromising musical vision..." (January, 1999).
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