Betty Carter - Live In Paris 1976 - Photo: Enrique Vinuela

Betty Carter - astonishing originality and boundless imagination - no wonder Carmen McRae said Betty Carter was the ONLY Jazz singer".

Betty Carter – Live In Paris – 1976 – Past Daily Downbeat

Betty Carter - Live In Paris 1976 - Photo: Enrique Vinuela
Betty Carter – astonishing originality and boundless imagination – no wonder Carmen McRae said Betty Carter was the ONLY Jazz singer”.(photo: Enrique Vinuela)

Betty Carter – in concert from Paris – recorded at Maison de la Radio, Paris – November 5, 1976 – Radio France –

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The immortal Betty Carter this weekend. A concert recorded at the legendary Studio 104 on November 5, 1976 by Radio France and featuring Carter, along with John Hicks, piano – Dennis Irwin, bass and Clifford Barbaro, drums.

The energy and innovation Carter brought to the table prompted comments from her peers, such as Carmen McRae to declare “There’s really only one jazz singer—only one: Betty Carter”.

To give you some idea of the impact Betty Carter has had on music and Jazz in particular,The NEA’s Jazz Masters website page ran this bio and tribute:

Betty Carter developed a legendary reputation, along with Art Blakey, as one of the great mentors for young jazz musicians. Equally legendary was her singing prowess, creating a distinctive style of improvisation that could transcend any song.

Carter studied piano at the Detroit Conservatory, a skill that served her well later in her career in writing original songs. Growing up in Detroit, she was exposed to numerous jazz greats who passed through town, even getting a golden opportunity as a teenager to sit in with Charlie Parker. Carter’s big break came in 1948, when she was asked to join the Lionel Hampton band. Developing her vocal improvisations during the three years with the band led to her singular singing style. Hampton, impressed with her saxophone-like improvisatory vocals, dubbed her “Betty Bebop.” After leaving Hampton’s band, she worked variously with such greats as Miles Davis, Ray Charles, and Sonny Rollins before creating her own band.

Although she recorded for major record labels early in her career, Carter became increasingly frustrated with record company dealings and disparities and formed her own label Bet-Car in 1971, one of the first jazz artists to do so. Selling her own recordings through various distributors, she was able to sustain her performing career. Carter was uncomfortable with studio recordings, but live recordings, like The Audience with Betty Carter, demonstrate her remarkably inventive singing and her ability to drive the band.

Carter’s bands served a dual purpose: to create her own great music and to help young musicians develop their craft. Many of the musicians who passed through her groups went on to lead their own groups, such as Geri Allen, Stephen Scott, Don Braden, and Christian McBride. She also developed a mentoring program called Betty Carter’s Jazz Ahead through links with organizations like the International Association for Jazz Education, 651 Arts, and the Kennedy Center. The program was a one- to two-week teaching seminar where nationally selected promising young jazz musicians learned from Carter and other seasoned musicians, culminating in a final concert of instructors and students together. Jazz Ahead was one of Carter’s proudest achievements, and she worked with the program up until her death. She received the National Medal of Arts in 1997.

If you aren’t already, give a listen and get acquainted. She’s the real deal.

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