Betty Carter was always eager to share her jazz philosophy, whether itwas with a new protege in her band, a young musician she took under herwing or a new audience. It was as if she were on a mission, preachingthe jazz gospel and committed to winning disciples to the music.In November 1997, less than a year before her death at age 69, Carterheadlined the fifth annual Beijing Jazz Festival and wowed the crowdwith her potent display of vocal improvisation. After the show, Carter,who was the highest profile jazz artist to play the fledgling event inCommunist China, was interviewed by a Beijing television station. Sheoffered viewers a lesson in liberty when she explained, "Jazz means youcan speak your mind musically and be accepted for doing it. You can doanything you want: change the tempo, put a new meter on a tune,anything. You don't have to conform to what other people expect you todo."
That sums up the jazz life of Betty Carter, the newest member of theDown Beat Hall of Fame. In addition to being one of the most innovativeand daring jazz vocalists, she was also an educator par excellence,schoolmarming dozens of musicians who owe a debt of gratitude to herexacting mentorship.
One such beneficiary is jazz violinist Miri Ben-Ari, 27, who justreleased her debut CD, Sahara, on the Half Note label. Itincludes the tune "Room 511," dedicated to Carter's memory. "Before Imet Ms. Carter, I was trying to sound like other violinists such asJean-Luc Ponty," says Ben-Ari, who was a participant in Carter's JazzAhead educational program. "But she insisted that you have to find yourown style. She instilled in me the confidence I needed to be myself andseek my own identity. She wanted me to be original."
Hailing from the Detroit area, Carter sat in with such beboppers asDizzy Gillespie and Charlie Parker as a teenager in the mid '40s beforejoining Lionel Hampton's band from 1948-'51. From there she worked withGigi Gryce, Ray Bryant and in 1961 recorded the classic Ray CharlesAnd Betty Carter album. In 1969 she launched her own Bet-Car labeland continued recording while raising a family.
With her unflagging energy in mind, it's no wonder that the recentconcert honoring her at Majestic Theater in Brooklyn was titled "TheMusic Never Stops: A Tribute To Betty Carter." In the spirit of the JazzAhead program she founded in 1993 at 651 Arts in Brooklyn (the programis now replicated at the Kennedy Center in Washington, D.C.), severalyoung musicians inspired by Carter performed their own music. Carterband alums such as tenor saxophonist Don Braden and bassist Curtis Lindyalso appeared. Pianist Geri Allen and drummer Jack DeJohnette, who bothperformed with Carter, served as co-artistic directors of the event.
"Betty was one of a kind, a consummate artist right up there withMiles," says DeJohnette, who first played with Carter in 1966 in a bandconsisting of pianist John Hicks and bassist Cecil McBee. "She was agreat band director who encouraged musicians to avoid cliches and speakin their own voices. I had a great time with her then, but an evenbetter experience reuniting with her for the Feed the Fire album[1998] and tour with Dave Holland and Geri. We were all challenged byher to the end of our limits."
Carter earned many awards, including a Grammy, an honorary doctoratefrom Williams College in Williamstown, Mass., and the National Medal ofthe Arts. She also frequently topped the Female Vocalist category inDown Beat's polls. So, it's a fitting tribute to the esteemed vocalistand brilliant talent scout that she enters the Hall of Fame inrecognition of her exceptional singing talents, uncompromising visionand unmitigated commitment to the music.ipt>
