Legend Lost And Found

BY ANY measure Jimmy Scott is a remarkable man. Seventy-fours years old and, until recently a forgotten jazz legend, he remains virtually unknown outside a small circle of fans and fellow artists. And while his tragedy-filled life makes for a harrowing tale in itself, it s his soulful, passionate and unique style of vocal expression combined with his diminutive stature that makes him so fascinating.
His recent appearance in Vicar Street which drew a packed house will undoubtedly go down as one of the live events of the year. Backed by a superb trio (The Jazz Expressions), Scott weaved pure magic on torch ballads such as Someone Who ll Watch Over Me and his truly heart-wrenching rendition of Sometimes I Feel Like A Motherless Child . The fact that he played here at all was a minor miracle in itself and is due almost entirely to John Kelly who began playing Scott s beguiling version of Siniad O Connor s Prince-penned hit Nothing Compares To U over a year ago. The overwhelming response from listeners ensured a cult following in Ireland for this unique artist who d been written out of jazz history.
Born in Cleveland Ohio, Scott first emerged in the 1940s as Little Jimmy Scott, singing with the Lionel Hampton Orchestra. Though he suffered from a medical condition which stunted his growth, he was an instant hit with audiences who stared in wonder at this strange little singer with the effeminate features and sad, melancholy voice. Despite having a hit song, his fortunes later dipped until his long-time friend Ray Charles took him under his wing and helped him to make a record. However, legal threats from Scott s former label prohibited the record s release and he was forced to withdraw from music, instead going to work as a shipping clerk to earn a living.
While he was later feted by the likes of David Byrne and Lou Reed, who took him on tour, Scott still couldn t get a record deal. Ironically, it was at the funeral of another friend and fan, R&B songwriter Doc Pomus, that he was eventually rediscovered. Record company executives in attendance heard Scott s tearful version of Someone Who ll Watch Over Me and immediately offered him a deal. Thus began the long overdue renaissance of the erstwhile Little Jimmy Scott.
At last, given the budget, production and accompaniment he deserved, he recorded a slew of critically acclaimed albums where he mixed old favourites with re-interpretations of pop/rock songs such as Talking Heads Heaven , John Lennon s Jealous Guy and Bryan Ferry s Slave To Love. His most recent album 1998 s Holding Back The Years included the Simply Red song, Elvis Costello s Almost Blue and (more surprisingly) his unique take on Elton John s Sorry Seems To Be The Hardest Word .
In his hotel the day after his triumphant Dublin show, Scott cuts a striking figure amid the Sunday brunch crowd, his tiny body draped in an expensive-looking leather trenchcoat and matching beret. The two-hour show the night before has clearly taken its toll and his voice is reduced to a faint whisper which barely registers on the tape recorder. Despite this, he is in good form and only too willing to talk.
Does he regret that it has taken so long for him to finally achieve some kind of recognition?
No, you can t change what happened in the past, he answers slowly. For a long time I sure wished things could ve been better and I ve had a few blows during my life. Things were harrowing, sure, but you defeat yourself if you allow your situation to destroy you. With me, I just had to get on with it and I had to make a living. Why waste time being bitter about something? There s got to be a way out you ve got to step out of it.
I never made much money out of music, he continues. I never got $1,000 a night like some people, but it was never about money for me. I ve seen money destroy a lot of talented people. Even Ray Charles had his problems with money, but thankfully he made it through the bad times. Communicating with musicians and with an audience is the most important thing for me. Always has been, always will be.
The lyrical message within a song appears to be the most crucial element in the way he approaches singing.
A song demands meaningful expression, and shouldn t be performed merely for dramatic effect, he explains. I have to bring something new to the song. If I can t complement the songwriter s craft, I just leave it alone. Never destroy a song that s always been my way of doing things.
How would he compare the songwriters of today with those of the 1940s and 1950s?
I think that musically that era was more powerful, new things were happening and it was an exciting time. But I think the creativity of new songwriters should be exposed and in time many of those songs will become classics in their own right. But it takes a long time.
At this point Scott is struggling to get the words out. Before we finish I ask him whether he plans to continue making albums and touring?
Well, I feel pretty good and I m enjoying going to all these beautiful countries like Ireland that I used to read about in Geography class.
Yeah, I ll keep on doing this, he smiles I ain t dead yet. n