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'Tis Autumn, Interviews
By Marc Myers (From JazzWax.com) ‘Tis Autumn: The Search for Jackie Paris is more than a bio doc. The film focuses on the sweet-and-sour life of a nearly forgotten jazz singer in the twilight of his years. But‘Tis Autumn goes farther—grappling with the clash between artistic integrity and compromise, and exploring what happens when an artist’s ego jumps the leash. Never judgmental, the film lovingly traces Paris’ life and contribution to jazz while exposing a painful truth: Not everyone who’s talented makes it to the top and often for reasons that have nothing to do with determination or ability. In Part 2 of my interview with Raymond De Felitta, the writer and director of ‘Tis Autumn, he talks about Anne Marie Moss—Paris’ second wife and singing parter—his first wife and long lost son, and a new film project that begins shooting in New York in the spring:
JazzWax: Did you find it chilling that Anne Marie Moss was as career-challenged as Paris? Raymond De Felitta: Anne Marie Moss, Jackie’s second wife, is a force of nature and an amazing vocalist. Very little of her singing exists on record, but she was a major talent who, sad to say, fell into the same black hole as Jackie. She loved Jackie and loved working with him, and was terribly faithful to him, too. JW: What about Jackie’s first wife—who left him when their son was still a baby. In the film, his son seemed shattered. RDF: Cissy and Michael are a different and darker matter. I admire them both for the rigorous honesty and extremely open manner with which they discussed their lives with me. Some people feel that my treatment of Michael was too invasive, but I didn’t see it that way. He’s a damaged man with a very honest view of his own life, and I respect his willingness to be seen for who he is. It’s all part of a big, dark story—the pattern of family anger and abuse that Jackie grew up around and was unable to extricate himself from. JW: At one point Jackie starts to cry when he’s reminiscing with Anne Marie Moss. What happened? RDF: Jackie, for a tough, old Italian guy, cried openly and often. He wasn’t afraid to let you see him cry. I think at that time in his life, he was reassessing so much about his complicated journey that any reminder of the past could suddenly strike him very hard in the heart. He loved Anne Marie and felt responsible for their marital break-up. In some ways, even though each remarried, they never really broke up. A deep bond was still there. JW: Tell me about the apartment in those Paris-Moss scenes. RDF: Jackie had a small apartment in a tenement on the East Side where he lived for years before meeting Anne Marie. It became their home when they were together. What we didn’t have room for in the film is what happened after they split up. He gave her the apartment. Though she eventually remarried and moved to Rhode Island, she kept it. Every six weeks or so, she came down to stay in the apartment by herself. It was as if a part of her life needed to remain in the place she had shared with Jackie. Last year the landlord succeeded in evicting her after 40 years and, shortly afterward, Moss drifted into senility. It’s as if in letting go of the apartment she severed much of herself. JW: Did Jackie ever tell you what he would have done differently with his career if he had another shot? RDF: Not really. He was proud of what he had accomplished and tended to look forward. I know he complained about bad management, but most of the people who tried to manage him found him too difficult to work with. Did he understand the role he played in the so-called bad management situations? I’m not sure he did. He tended to excuse his own inadequacies. How human. JW: How did this film alter your view of life? RDF: I learned that virtually every life is a novel—whether or not you’re an artist. We are all playing from scripts that seem to have been sent with us to this earth. JW: In the film, you’re hunting for a copy of Jackie’s late-1940s pressing of ‘Round Midnightfor National Records. Did you ever find it? RDF: As you know from the film, Jackie’s recording of Thelonious Monk’s ‘Round Midnight is one of the first vocal versions of the song. It was recorded in November 1949 for National but now is one of the hardest Jackie Paris singles to find. In the film, we went from record show to record show trying to buy a copy—with no luck. Eventually, though, we did come upon a test pressing of it on eBay. It came from an estate sale of stuff belonging to the husband of vocalist Helen Forrest. The recording also can be heard on the EmArcy compilation LP, Advance Guard of the Forties. JW: What’s your next project? RDF: It’s a movie called City Island, a romantic comedy about a dysfunctional family living on an island neighborhood in the Bronx. It will star Andy Garcia and Marcia Gay Harden. I wrote the script and will direct it this spring in New York.”
JazzWax tracks: Jackie Paris’ 1949 recording for of ‘RoundMidnight can be found on an EmArcy LP called Advance Guard of the 40s. The date was produced by Leonard Feather and featured Eddie Shu on tenor sax, John Collins on guitar, Dick Hyman on piano, Tommy Potter on bass and Roy Haynes on drums. Jackie Paris & Anne Marie Moss: Live at the Maisonette is the only LP they made together. It was recorded in September 1974, at the St. Regis Hotel’s Maisonette Room in New York. They were backed by Mike Abene on piano, Harvey Swartz on bass and (believe it or not) Steve Gadd on drums. The chemistry of Paris and Moss singing together is pure joy, and Paris’ vocal arrangements are hip and pure early 1970s. To hear a bit of this record, go here, wait for the page to translate from the Japanese, then click on the LP cover. From time to time, Live at the Maisonette appears on eBay and sells for around $20. The pair also recorded with the Buddy Rich Quartet in 1974. Two of the tracks—Fish Fry andCaesar—showcase Paris and Moss together while Nothin’ features Moss on her own. All three tracks are on an obscure 1994 CD entitled, Best of the Jazz Singers, Vol. 2 and can be sampled here. Searching for Anne Marie Moss:So who was Anne Marie Moss? I know she recorded Let’s Fall in Love as “Annie Moss” for the 1959 Roulette album,Maynard Ferguson Plays Jazz for Dancing. But for some strange reason the track never made it onto the LP. The track did surface recently onMaynard Ferguson: Dancing Sessions, a CD on the Jazzbeat Spain label, It combines two of Maynard Ferguson’s Roulette albums—Plays Jazz for Dancingand Let’s Face the Music and Dance—and Moss’ vocal is one of three bonus tracks. I also found the following entry in the Encyclopedia of Music in Canada:
“Anne Marie Moss. Singer, teacher, b Toronto 6 Feb 1935. Except for lessons in breath control from Portia White in 1955, she did not study formally. She began performing as a child and sang jazz first in the early 1950s with the groups of Joey Masters and Calvin Jackson, two US pianists then living in Toronto. She also sang with the dance bands of Ferde Mowry and Benny Louis and throughout the 1950s appeared on CBC TV variety shows. She performed occasionally with the jazz groups of Norman Symonds and Ron Collier and toured 1956-8 in Canada and the USA with the saxophonist Don Thompson. In 1959 she joined Maynard Ferguson’s big band in the USA, where she also sang with the Count Basie Orchestra and replaced Annie Ross briefly in the jazz vocal trio Lambert, Hendricks & Ross. In 1961 she married, and began singing with, the US singer-guitarist Jackie Paris. The two appeared together until 1980 in nightclubs across the USA and made the LP Live at the Maisonette(Different Drummer 1004). When they made a rare Canadian appearance at the Toronto nightclub Bourbon Street in 1976, Jack Batten wrote: ‘Miss Moss’ voice and attack… have grown more middle-of-the-road than they were in her earlier Toronto days. She seems to go in less for lofty flights and improvisations and concentrates more on plain old projection and communication. She’s got all the equipment for that job—excellent diction, an intelligent awareness of lyrics, and a voice that’s pure, professional and very assured’ (Toronto Globe and Mail, 13 Oct 1976). Moss resumed her solo career in 1980, recording the album Don’t You Know Me? (Stash ST-211, issued in 1981) and appearing in concert, in nightclubs, and at colleges. She performed on several occasions in Toronto during the 1980s and taught voice privately and at the Manhattan School of Music in New York.”
‘Tis Autumn updates: For updates on theaters showing ‘Tis Autumn as well as progress on the release of the DVD and possible soundtrack, visit Raymond’s blog here.
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'Tis Autumn, Interviews
By Marc Myers [From JazzWax.com] Writer and director Raymond De Felitta’s documentary,‘TisAutumn: The Search for Jackie Paris, is already a cult classic. The film had its premier in New York earlier in December and, just like that, it was gone. Why this film isn’t being aired regularly on PBS or Ovation is beyond me. As I said some weeks ago after seeing the film for the first time, it’s a staggering emotional opus with revelations at every turn. With any luck, ‘Tis Autumn will roll into select theaters nationwide in early 2008, and the DVD will be available online and at Netflix later in the year. Such is the state of movie distribution these days. Great stuff always gets crowded out by mainstream fare. ‘Tis Autumn is everything you want a jazz documentary to be—and more. I saw the film twice in New York, and there wasn’t a dry eye in the theater at the end of both showings. In a nutshell, the film is a haunting portrait of an immensely talented should-have-been with a voice so breezy and modern that he was both of his time and ahead of it during the late 1940s and 1950s. Ultimately, ‘Tis Autumn is the search for what went wrong with Jackie Paris’ promising career and why a singer who should have been Tony Bennett wound up ground down by fate and frustration, dying a virtual unknown in 2004. In Part 1 of my two-part interview with Raymond De Felitta, the writer and director talks about Paris’ extraordinary talent, the factors that held Paris back, and what Paris told a stunned Duke Ellington in the late 1940s:
JazzWax: For those who don’t know, what made vocalist Jackie Paris so special? Raymond De Felitta: Jackie’s voice had an unusual combination of qualities that weren’t found in any other one singer. Jackie was a hardcore be-bopper who could sing a ballad with a lovely, warm, open gentility. There was an empathy and smile in his voice. But he also could be a mean blues shouter. I can hear how his voice influenced Mel Torme, Billy Eckstine, Johnny Mathis, Bobby Darin and, later, popular singers who didn’t necessarily have that much in common. JW: Paris fell into a commercial black hole starting in the mid-1950s. What happened? RDF: Jackie’s problems were inflicted on him by the music industry and by own making. If he’d been more successful, his perfectionism and frequent temper flare-ups over perceived sloppy accompaniment would have been acceptable. JW: Wasn’t that par for all ego-driven singers? RDF: Certainly Sinatra was no darling to work with. But his temper never got in the way of his professional path. You might say that the industry’s problems— the declining popularity of jazz and male vocalists in the late 1950s coupled with changing tastes in the 1960s—helped magnify Jackie’s personal problems. He grew touchier and angrier as less talented vocalists became stars and fewer people knew of his work. His personal and industry problems fed off each other, rendering him obsolete at the very moment when he reached his creative peak—in 1961 and 1962. JW: Your film clearly was an obsession. Was it hard tracking down the truth? RDF: There were certainly moments when it seemed like the whole process would never end. Leads that we thought were dead would suddenly re-emerge, and we’d find ourselves once again showing up, cameras in hand, piecing together another part of the Jackie Paris puzzle. But I must say that the detective work—which is what the making of ‘Tis Autumn really was—suited me. I like being dogged, and I don’t mind dead-ends, provided I’m not bored. Given the subject matter here, I never was. JW: Everyone who cared about Paris wound up shattered. Why? RDF: I don’t want to sound too ethereal, but the older I get, the more I believe that our spirits are in place before we arrive on this earth. I also believe that we’re all following a certain path, playing a certain role, that isn’t truly of our choosing. We can modify our behavior, but we can’t really change ourselves. Jackie arrived brimming with talent, ambition as well as resentment and anger. Seventy-nine years later he was still brimming with all of those things. JW: So some of that self- destructiveness was hard-wired? RDF: Even as a young man Jackie seemed to know he was destined for artistic disappointment. In the film, there’s a letter that Jackie wrote to Down Beat, pissed off that he was being treated unfairly in the magazine’s pages. The year is 1947. That means Jackie is only 23 years old and already defensive about his place in the music world. Does this mean he influenced his outcome because of this attitude? There are those that believe that to be the case. Certainly we push ourselves over cliffs of our choosing. Still, I think it’s hard to change the script we’re born with. JW: What things about Paris’ career didn’t make the film due to time/space constraints? RDF: Jackie was fired from a TV show in 1959 called Music For Fun. He was one of six singers on the show, and after a few episodes he went to the producers and complained that there were too many singers. The producers agreed—and fired him. JW: It sounds like Jackie’s ego, instead of driving him, was always one step ahead undermining what he could have accomplished. True? RDF: In some regards, yes. Duke Ellington asked Jackie to tour with him in the late 1940’s or early 1950s, and Jackie turned him down! Jackie had just gotten off the road with the Lionel Hampton band and didn’t want to go out again for an extended period. Duke was clearly chagrined at being turned down—he even told his son, Mercer Ellington, about it. Whenever Jackie ran into Mercer in subsequent years, Mercer would say: ‘You turned my old man down. He couldn’t believe it!’ I think when Jackie heard this from Mercer he was both bummed and a little in awe of his own chutzpah.”
Tomorrow, in Part 2 of my interview with Raymond De Felitta, he talks about Anne Marie Moss—Paris’ second wife and singing parter in later years—and what facts about her never made the film. ‘Tis Autumn updates: For updates on theaters showing ‘Tis Autumn as well as progress on the release of the DVD and possible soundtrack, visit Raymond’s blog here. JazzWax videoclip: To see the ‘Tis Autumn movie trailer, go here. JazzWax tracks: In addition to the album and song downloads recommended in my last post on Jackie Paris here, you can listen to two mp3 clips here. At the site, just click on the sheet music forRide, Sally, Ride and Indiana. Listen how Paris opens Indiana. That savvy, optimistic approach is what made Paris so special. If you like the way Indiana sounds, it can be found on a fabulous CD called Songs by Jackie Paris, which for the longest time was available only on a Japanese CD release. Now, the album is available at iTunes for only $9.99. The arrangements on there are so cool I decided to do a little searching for Jackie Paris on my own. Turns out all the tracks were arranged by the great Manny Albam. Recorded in November 1955, the musicians on the date were Sam Marowitz and Hal McKusick on alto saxes, Frank Socolow and Eddie Wasserman on tenor saxes, Al Epstein on baritone sax, Bill Triglia on piano, Barry Galbraith on guitar, Milt Hinton on bass and Osie Johnson on drums. Albam likely contracted the Paris date, since a bunch of the guys, including Albam, had just recorded Terry Gibbs’Vibes on Velvet for EmArcy a month earlier. You’ll also find an interesting Jackie Paris vocal buried on Charles Mingus’ 1974 album, Changes Two. The track isDuke Ellington’s Sound of Love, and the CD can be found here. Mingus loved Jackie’s voice and first featured him in 1952 on three tracks—Paris in Blue, Make Believe and Portrait—for his Debut label. These very hip tracks are available at iTunes on Charles Mingus’ Debut Rarities, Vol 4. JazzWax connections: Jackie Paris may have been woefully under-recorded in the late 1950s but he was still a rave of jazz musicians. To capitalize on Paris’ hip, young sound, record labels took a shot at promoting singers with a similar approach. Two examples were Johnny Pace (who appeared on a Chet Baker recording for Riverside in 1958) and Frank D’Rone (who recorded for Mercury with Billy May big band arrangements in 1959 and 1960). If you are familiar with Jackie Paris’ voice, you’ll be taken aback by the similarities.
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