CLINTON ST. QUARTERLY years to really develop. CSQ: Why is it that someone who came up when you did doesn’t have that attitude about instant success and big money, while young people today do? BC: Because we were taught to be good. When you worked behind people like I worked behind, you just couldn’t help but try to do a good job. We were told that when you get on stage, you are supposed to knock the people out. It wasn’t about selfishness. You were supposed to please people. In some cases today we’ve got musicians thinking that it’s the responsibility of the audience to like them, when it’s the performer’s responsibility to make that audience like his stuff. I’m supposed to put it in such a way, with such taste, that the audience will accept it. In the sixties, the hit record thing became big, and tracks became available for record companies to change an artist or make an artist into something, and producers told an artist how to s in g . . . .Today you’ve got big singers going out and trying to find a producer who had a hit record by some other artist, hoping that they will be able to get a hit record from that producer! That’s what it’s like now: controlled, manufactured music. They’ve got the equipment and the techniques, and they spend a lot of money to make stars. The record companies are now in trouble behind all that, because they spent too much money trying to make people and shove them down our throats. And it was all mediocrity. To me it’s a sin to encourage mediocrity. So we had a bunch of mediocre music out there, and now the record companies are in trouble. People used to say to me, “Well, you ought to get a hit record,’’ like it’s that easy to get a hit record. They’d say, “A fter you get a hit record, then you can do anything you want.” But you’ve heard that before, right? You know that it’s impossible. Look at George Benson. He sang one song, and now he’s a singer. Only us old folks will know that George Benson’s probably one of the best guitar players in the business. And the record companies—once they get that money, once you’ve got a hit record —they won’t let you be anything else. They’ve been saying that there’s a new upsurge in jazz—there’s a new upsurge in reissues. They’re not recording any new people. They’re not encouraging young musicians to hang in there and do better. They give you one shot, and if you don’t make it, forget it, they’re finished with you. This is cruel, and I think the record companies are now paying for it. CSQ: Dexter said that jazz is a way of life. Do you think musicians who want hit records are interested in jazz more as a way to make a living than as a way of life? BC: Well, we’ve all made livings. We haven’t made the kind of money that George Benson made in one night with “Masquerade,” but like I said, I don’t believe he’s any happier than I am. I don’t believe Herbie Hancock’s any happier when he comes off that stage than I am. When I come off and people are asking for more more more, I’m the happiest person in the world. CSQ: You mentioned that you have two children. Did raising a family interfere with your touring career? BC: See there? And I worked the whole time. I had my first baby March 14th, 1961, and I joined Ray Charles on tour for thirty one-night- ers on April 1st. I was in a club in Philadelphia when I was eight months pregnant with my second baby, and I also did three different shows at the Apollo in that six-month period. Going into the Apollo that often in six months, I had to keep on my toes. I was pregnant, plus I had to do different songs. I had to think! I had to figure out things to do on stage that would be just as effective. And then I had to go up there and try them out. But that kind of work for young people just isn’t available any more. CSQ: What’s a jazz performer’s main problem in getting work these days? BC: You know, I’ve made a lot of new friends, a lot of club owners have been happy with my reception. So I keep working. I just hope other people can keep clubs open too, because we don’t have enought jazz acts to keep a club surviving, say fifty-two weeks a year. If we had fifty-two good, solid jazz people, we would have no want for any clubs to work. CSQ: You once said: “ I worry about the future of jazz because the young people are hearing Joni Mitchell instead of Sarah Vaughn, Dizzy Gillespie and m e . . . . ” BC: N o . . .1 said I worry because kids are being told that Joni Mitchell is a jazz singer. What do they know? They’ve never heard Sarah or me, so they’re being told that Flora Purim is a jazz singer and she wins the jazz poll, right? And damnit, Joni Mitchell, just because of her association "Jazz will be on the rise when I find four or five young singers in back of me. giving me static. Then i'll know i t ’s on the rise with Charlie Mingus, becomes a jazz singer. This is not the way you become a jazz singer!! So the kids are being fooled, and this is what I resent. It’s funny about the media, the record companies.. . .They want an association with jazz. A recording company will insinuate that Flora Purim is a jazz singer because of that thing she did with Chick Corea. Nice record, but she’s not a jazz singer; she’s a coached, manufactured singer. They told her what to do, she learned it note-for-note, she couldn’t improvise across the street. And I don’t believe Joni Mitchell could either. The record companies try to make a jazz person out of someone who ain’t , but they won’t spend the money on somebody who’s really a jazz person. CSQ: Why is that? BC: Don’t ask m e . . . . I guess they figure Joni Mitchell’s got a name anyway, so they capitalize on the name. And Chick Corea had a name too, he had this singer coming along, you know, who did his material, sang his songs.. .so they’ll call her a jazz singer. Part of this is because right now, the record companies won’t touch anything acoustical. Isn’t that unbelievable? Did you ever think the day would come? Well I had a feeling it was coming when people started saying, “ Jazz is on the rise.” Jazz will be on the rise when I find four or five young singers in back of me, giving me some static. Then I’ll know it’s on the rise. ■ CIRQUE JANN MCCAULEY & COMPANY Apr. 10, 11 & 17, 7:30 p.m. tickets $4.00 for reserved seating call 227-3840 716 SW 16th Ave. Portland, OR 97205 ART YOU CAN SINK YOUR TEETH INYO. 3 Conventioneer's Cake, 1980, Susan Ma rt in , Lisa Siegel Visit us for a taste o f the unusual Northwest Artists Workshop 117 N.W. Fifth Portland, OR 97209 Open Noon to 5:00, Tuesday thru Sunday. i i
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