Pages 14 and 15 of Crescendo, August 1963, Vol.2, No.1. An interview with singer and songwriter Oscar Brown dominates both pages. Two regular columns also appear: Panning Shots, dealing with jazz on television, is on page 14, with On the Off-beat, a round-up of brief news items and anecdotes, on page 15.
|Catalogue Reference Number|
|Creator||Tony Brown [ed], Mike Boom, Mike Aldred, Milt Mendoza|
|Title or Caption||Panning shots. Jazz is catching hell. On the off-beat.|
This text has been generated by computer from the image and may contain typographical and/or grammatical errors.
by MIKE BOOM
âin an interview with Mike Aldredâ declares that
LET us give thanks for the reappearance on our screens of that under-appreciated and much-abused commodity â music Granada, characteristically bold and uncompromising with string quartets; BBC, expansive but cautious with Music In Camera, not to mention Eric Robinson in his famous visual version of Family Favourites. Welcome back, anyway, not least for the sake of the hundred or so professional musicians who have regained a field of employment.
Now, how did this come about ? Did audience research figures show such a falling-off on Monday nights, or is it expected that the number of viewers will rocket in response ? In other words, is the Corporation responding to a demand or anticipating one ?
But at the risk of becoming monotonous, I assert once again my firm belief, and the belief of my editorial colleagues, that a programme of good jazz would fetch just as wide and appreciative an audience, if indeed size of audience is a material factor.
Heavens! I could reel off a list of British performers alone that would run to the end of the page, all well worthy of attention and studio time. So, I imagine, could the BBC Head of Music Production, if he were given wider terms of reference.
Let us, as I said, give thanks for the return of music, but let us not accept the implication that between Barbirolli and Bill Cotton there is only Barber.
Some of my best friends are . . .
1 fEANWHILE, in the absence of any-IVl thing more exciting, I have been listening with open ears and closed eyes to the commercials. It is quite clear that advertising producers' views about their musical requirements are the complete opposite to those of the programme men. In quality, if not quantity, there is enough good jazz to satisfy any discerning person's appetite, providing a most useful source of income for musicians.
Since the I TV contractors and the advertisers are reckoned to be the experts on attracting large audiences, the implication is that this is the kind of music to do so.
Now, who are right, they or the programmers? One can guess that the writers and composers, among whom are the elite of the business, would jump at the chance to create a programme of pure music material, in spite of the obvious disparity in the potential fees.
I guess that the love-hate relationship which the commercials engender in me must be shared by many of the poor beggars who have to turn trade names and slogans into euphonious lyrics and melodies.
Please don't misunderstand. Some of my best friends are jingle writers. One of them does a record review for this magazine. I think he'd agree with me.
OSCAR BROWN Jr. is that rare artist, the multi-talented entertainer. He not only composes very hip songs but performs them as well, making even the faintly absurd sound convincing. He is at home with a lyric, whether it be a swinging dedication to "Hazelâs Hipsâ or a plaintive elegy to a âPlain Black Boyâ. Not surprising that he regards himself primarily as an actor. However, it is through recordingsâboth his own and those of established singers like Mahalia Jackson and Mel Torme that his name has become known in Europe. He is also host of Steve Allenâs Jazz Scene USA TV programme that is now screened in various parts of the world.
He is overwhelmingly confident without being conceited. Undoubtedly this zestful self-assurance enabled him to survive the colossal flop of his first musical, Kicks And Co., a $400,000 production. Instead of forcing him into obscurity, it redoubled his efforts as a singer. His reputation as a nightclub entertainer has since steadily grown. He has worked at the Crescendo in L.A. with Jonah Jones, at New Yorkâs Village Gate with Dizzy G. and scored heavy successes in most of the top clubs throughout America.
Yet Oscar Brown is an enigma. As a singer he offers nothing technically astounding. Yet he has been acclaimed by journalists like Nat Hentoff and Dorothy Killgallen, by jazzmen like Max Roach and Cannonball Adderley and tagged as âexceptionalâ, âauthentically hipâ, âgeniusâ and âa startling geniusâ.
When I talked to him he was in the middle of rehearsals for Wham! Bam! Thank You Ma'm, a revue which opens later this month and which has a big band on stage directed by Tony Kinsey and which stars Annie Ross, at whose suggestion Brown was cast for the male lead.
He is a friendly manâbut frank and down-to-earth. He does not regard himself a jazz singer. .
âIâm a singer who sings jazz songs, but I hate being categorised and this is something you should not do in musicâcategorise it. I sing a good deal of jazz and I sing a good deal of what you would call folky. But you couldnât say Iâm a folk singer. Iâm just a singer.
âJazz is such a complex thing and people have so many ideas of what it is and what it isnât. Kenton, to some people, is jazz. To others, itâs the Firehouse Five Plus Two. I have never understood Ornette Coleman, and I donât feel what he is trying to say in his playing. But
who is to say that he isnât adding anything to jazz or even that it isnât jazz ?
âI started singing through writing. Iâve always been interested in performing. In fact I was about fifteen when I made my debut as an actor in a little theatre in Chicago and then I was doing things for the local radio and I was singing all the time. I think writing is very important. I used to write mainly for other people. Abbey Lincoln recorded a song of mine called â Strong Man â on an album for Riverside about 1957. This was terrific encouragement at that point. Then Max Roach and I composed a suite. It never really came to anything. I donât think it was ever finished, but his âFreedom Nowâ has something of mine in it.
âHeâs just done a thing called âParisian Sketchesâ which is just beautiful you know. He did a record some time ago with a jazz chorus out of sight; that was beautiful too. I think he is a very talented composerâto say nothing of his ability as a playing musician. You could say that he influenced me to stay with it and not give up as a writer.
âActually, Abbey recorded more of my songs and Mahalia Jackson had done âBrown Babyâ. That is by no means jazz. Much of what is considered jazz is really jazz treatments of ordinary tunesâshow tunes written by composers who couldnât swing if you hung âem.
âAs a composer myself, Iâm not so much interested in social commentaries as in slices of life. Thereâs no deep sociological meaning to âHazelâs Hipsâ, for exampleâbut it does have a life meaning. With other songs Iâve written, like âSamâs Lifeâ, I do try to focus on socialâor humanâproblems.
âThat second album I did, âBetween Heaven And Hellââthat has a mixture of songs, some of which I did for Kicks and others which I just wrote. They are all swinging messages. Everything about life has some message. I perform material that has something unique for me, and Iâve tended to sing my own songs because I can identify myself with them. Iâve found that they communicate with audiences.â
Some areas in the country are fortunate enough to be able to view Jazz Scene USA, about which there has been nothing but praise. I asked Oscar why it should get such a limited presentation and why, indeed, jazz should be a limited culture.
First he enthused about working with some of the best jazzmen in the world and ex-
On ifc oÂ§-beat
with MILT MENDOZA
DEAR me, this will never do. I realised recently that only five members of the weaker sex have ever been named in my | column. The reason for this, of course, is that their are few women jazz artistsâor few who are active on the scene.
Letâs try to put this position right. Stars and Garters, that wonderful A-R TV pub entertainment has two luscious lovelies, Sandra Gale and Kathy Kirby in attendance each week. So alright, their singing wonât cause a revolutionâbut they are very easy on the eye.
Oscar Brown Jr. and Annie Ross in rehearsal for Wham ! Bam ! Thank You
pressed gratitude for the wonderful experience.
Then he commented: âJazz is catching hell in the United States and a lot of it has to do with the places in which it is presented. It used to be a come-on for whisky. Some of those places were not exactly conducive to jazz, but they were to booze. Today in some of the clubs itâs not all that different.
âThe musicians are partly to blame. Some play for themselves as if there were no audience. They play their own expressions, not reaching an audienceâand certainly not playing for them. Miles Davis may look as though heâs playing for himself, but heâs one of the most successful audience-appeal jazz musicians that I know.
âI think jazz is going to have to be âsoldâ more to the public. Itâs going to have to find different stages, find the legitimate theatre, find television. Weâre going to have to incorporate more of the dance in jazz if it is going to appeal to a wider public. This can be done, I think, without detracting from its basic essentialsâsentiment, expression.
âThe days of King Oliver are over. The jazz of the brothels is deadâjust as Shakespeare is dead. No one is speaking in basically Shakespearian language today. Earlier forms have given way to newer forms and jazz must go right on with it. Composers must score larger works; there must be jazz oratorios and jazz operas and jazz cantatas.
âWorking with Annie is greatâso professional in everything she does. I think she is one of the finest jazz singers in the world. But this isnât a jazz Musical. Itâs a revue with jazz as one of the ingredients.
âBecause of sheer economics, there are many good out-of-work musicians. There are absolutely no means by which a young up-and-coming musician can season himself. Union scales are so high that clubs just cannot afford untried musicians. Free jam sessions are now prohibited by Union regulations and so there are no gigs in which young musicians can try out their talent.
âSome of the worst get through because they have stamina or because they are better politicians with the agencies and record companies. Itâs not always musical talent there at the top.
âA country like the United States should feel a responsibility for developing the few unique cultural contributions it has made to the world. Why should a show like Jazz Scene USA be able to find exposure in Stockholm and not in Chicago ?
âThere is no help from public or private foundation to promote jazz. The State Department does initiate these odd exchanges, admittedlyâbut there are no funds devoted to the development of our own musical heritage.
âThis is partly due to racial prejudice. The fact that the main exponents of jazz are Negroes has tended to confine jazz to the saloons.â
Blues singer Dinah Washington, aged 37, has just married professional footballer Dick Laneâher sixth hubby. Says Dinah: âThis time for keeps.â
Another wedding, this time on the home front, joined Marion Levinson, daughter of taxi-driver author Maurice, to Big Pete Deuchar, R & B bandleader. Congratulations all round.
Peteâs Country Blues outfit recently backed actress singer Polly Perkins, who not only sang the theme song on the BBC-TV play âSheâs A Free Countryâ, but also wrote it and starred in the play. Disc-star Polly (real name Danee Arnold) is one of our brightest all-round female talents in a long while.
Londonâs theatre land is looking a bit healthier lately, musicwise. Frank Loesser wrote the music and lyrics for that great j musical, How To Succeed In Business Without Really Trying, at the Shaftesbury.
Loesser is well known for his previous 1 musicals, Guys And Dolls, Where's Charley ?
I and The Most Happy Fella, plus many filmsâ
! the last being, Hans Christian Andersen.
Born in New York 52 years ago, his road to the top was a rocky one and on the way ; he was a bottle washer, waiter and film extra.
Filmwise, prolific composer Elmer I Bernstein (no relation to Leonard) wrote the score for recent release The Great Escape. Bernstein, whose previous efforts include Sudden Fear, The Alan With The Golden Arm and The Ten Commandments, was bom in New York in 1922.
As a youngster he was an accomplished dancer, actor and prize-winning painter. When he was 11 the family took him to Europe, after which he won a scholarship for piano-playing.
After completing his service with the American Air Force, he started writing music for the radio as well as giving concert recitals.
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