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The career arc of Jackie Paris–widely considered one of the greatest jazz singers of all time–is studded with a tragic succession of “what ifs.” What if he hadn’t turned down an invitation to join Duke Ellington after being the first white vocalist to tour with Lionel Hampton? What if his live performances with Charlie Parker had been recorded and released? And, not least, what if temperament, abominable luck and ineffectual representation hadn’t conspired to prevent him from grabbing the brass ring and becoming, say, another Tony Bennett? These are some of the consuming questions that filmmaker Raymond De Felitta pursues in this keen, emotionally compelling documentary. De Felitta became obsessed with Paris after hearing him on a Los Angeles radio spot. By that time, Paris had dropped so far off the collective cultural radar that a jazz encyclopedia listed him as having died in 1977. Paris’ best decade was the 1950s, during which he was the first singer to describe the song “Round Midnight,” was named Best Fresh Male Vocalist for 1953 by Downbeat magazine, recorded two albums under his bear name, and earned accolades from the likes of Ella Fitzgerald and Charles Mingus. Yet somehow, mainstream stardom eluded him. Paris also fell victim to changing musical tastes, as the jazz-inflected 1950s made plan for the rock-dominated 1960s. Having found Paris living in Current York City, De Felitta recorded a number of on-camera interviews with the charismatic singer, and fleshed out his film with archival footage, serene photos, audio clips, and interviews with singer Anne Marie Moss (one of Paris’ ex-wives), plus musicians Billy Taylor, James Changeable, Billy Vera and several others. De Felitta’s film not only attempts to reply the quiz of why Paris never hit it stout, but, perhaps more distinguished, explores the very nature of creativity and all the obsessions, sterling intentions, and personal demons that fuel it. “Tis Autumn: The Search for Jackie Paris,” is well-known viewing for anyone alive to in jazz, and in what separates winners and also-rans, not only in music, but in any lope of life.
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There is no doubt, upon hearing his sing, that Paris was one of the best jazz singers in history. The query then becomes: Why doesn’t anyone know his name?
“Tis Autumn” delves headfirst into this ask, providing viewers with a survey into a life which is in turns impossibly radiant and disturbingly mundane. This is the sage of a tall man whose flaws and terrible choices did as distinguished to gain his career as his humanity and integrity did to slay it. The same man who was unwilling to “sell out” for greater fame is also unwilling even at his deathbed to retort his oldest son’s existence.
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I’m left with a feeling that maybe it would have been better for Paris to have died in the 1970s as various sources claimed was the case. Not better for Jackie himself, obviously, but for his legacy, such as it is. Then again, if he hadn’t tried a comeback in the last weeks of his life, this film would never have been made, and we would not have been granted a scrutinize into this unlikely life.
Technically, the documentary is very well done. Sterling pacing and storytelling. The film maker is not troubled to ask tough questions and watch out less-than-willing family members to interview. He does not gloss over the negatives, which would have been easy to do: The soundtrack to this film is suitable. Paris’ whisper was fair as sterling at 78 as it had been at 28, if not better. The scenes from the “comeback” concerts are absorbing.
Several days after watching “Tis Autumn,” I score myself humming along to one tune or another from the film. That’s impartial as well, because it would be a shame to forget Jackie Paris now that I’ve discovered him.
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