Vanessa Rubin: "One cannot embrace true vocal jazz without embracingBetty Carter. I think most singers develop along the lines of imitation,assimilation and hopefully innovation. Not many can boast havingachieved the latter. None would argue that Betty did, and that she heldthe doors open for anyone who would enter."

John Hicks (played piano with Carter 1966-'68, 1974-'80): "She was agreat inspiration, and she always had her own individual approach tothings. Betty wasn't interested in getting a hit record; she was morefaithful to the tradition of the music for the sake of the best that youcould possibly be. A lot of people would comment about how tough shewas, but what I got out of that was her demand for excellence."

Greg Bandy (drums: 1973; 1980-'82): "She was like a big sister to me. Ilearned more about how to play the drums from Betty Carter than I havefrom some drummers! She was the epitome of a serious, strong jazzartist - strong woman. When you came off her bandstand, you'd be wringingyour shirt out! You ain't gonna sit up there and look cute - she'd kickyour ass more than a horn player. Betty was phenomenal!"

Mulgrew Miller (piano: 1980): "There are so many things that I admireabout her: No. 1 being her artistry, her tenacity, the fact that Bettydid it her way; she had her own label, she promoted herself, dideverything. Betty was always part of the scene; she was in the trencheswith the rest of us. That's nowhere more evident than her Jazz Aheadprogram, where she introduced so many young talents."

Lewis Nash (drums: 1980-'84): "She was a mother/mentor/teacher. Bettywas a person who encouraged individual thinking, not to follow a crowd.[On the bandstand] it was very intense, and very focused. You really hadto pay attention to her directions, which could have been verbal, signlanguage or musical.... Once she hit that stage, there was one thingthat had to be done: Make that music live and breathe."

Cyrus Chestnut (piano: 1991-'93): "Betty was one of the major mentors inmy development. She really encouraged me to try to find something new;she refused to let me just go on automatic pilot. She always wanted themusicians to be sensitive and get all of the love the music had."

Darrell Grant (piano: 1988-'89): "The first time I heard Betty was inthe winter of 1987. She sang an entire 75-minute show with laryngitis. Imean, she couldn't even talk! But what music she made! 'It's about theaudience,' she said. 'This music ain't no hobby, you have to live it.'Well, Betty, if you're looking down, we got the message, and the futureis in good hands."