Interview: Bev Kelly (Part 2)

Reprinted from http://jazzwax.com

Few singers curl up on a song's lap like Bev Kelly. In the '50s she worked clubs and recorded several albums with pianist Pat Moran. She also recorded her first solo album in 1957. But just as she had attracted the attention of personal manager John Levy, Bev had a choice to make—her career or her son Greg. A close call in a car accident also made her think hard about her priorities. [Photo above: the Pat Moran Quartet in 1956; from left, John Whited, Pat Moran, Bev Kelly and John Doling, choreographed by Prince Spencer]

Bev had a cute singing style that combined power with hip phrasing. The ability to belt a tune and butter it up at the same time made her voice highly attractive. On top of these singing skills was the ability to bend notes, adding drama to any song. Weeks ago I wanted to tell her this and more so I shot her an email. Before her song had ended, Bev had emailed back. [Above photo of Bev Kelly today by Shawn Kelly]

In Part 2 of my conversation with Bev, the singer talks about her post-1959 career and why she didn't follow in the footsteps of Nancy Wilson... 

JazzWax: You and pianist Pat Moran worked with bassist Scott LaFaro?
Bev Kelly: Yes, in 1957 Scotty worked with us for a while before he went to Los Angeles in 1958. He was amazing even then.


JW: How did Beverly Kelly Sings come about?
BK: In 1957, Sidney Frey, who owned Audio Fidelity Records, heard us at the Cloister Inn in Chicago. He wanted to record me backed by Pat, Scotty and Gene Gammage on drums.


JW: You were starting to appear as a solo singer, yes?
BW: Yes. George Shearing [pictured] came in one night while I was at the Cloister Inn and said he wanted to introduce me to his manager and former bassist John Levy. We flew to New York to meet him. John managed me for a short period, but I had a conflict. I was torn over not spending enough time with my son. I used to pack my son Greg in my car with his bike and take him with me wherever I sang.


JW: Greg’s father wasn’t around?
BK: I married Chuck Kelly [third from left above] in 1953 and we soon separated for eight years before remarrying in 1961. We’ve been together ever since. But back then, after we separated in the early ‘50s, he moved to New York and lived on a hot dog a day just to play his horn. He loved Greg, but he wanted to do his thing. It was very difficult.


JW: Where else did you perform in New York?
BK: At the Village Vanguard with pianist Ramsey Lewis and Eldee Young on bass and Redd Holt on drums. I had already sung with the Ramsey Lewis Trio [pictured above] at the Cloister Inn in Chicago and after Pat and I split up, I didn’t want to sing with some group I didn’t know. After Ramsey I sang with pianist Eddie Higgins.


JW: How did Love Locked Out come together for Riverside?
BK: John Levy put me together with pianist-arranger Jimmy Jones. I asked Jimmy if I could pick the songs rather than the A&R guy, which was unusual for a singer. In most cases singers just did what they were told. Jimmy agreed and we sat together and picked songs. I was always looking for material that other people didn’t do. Jimmy was such a sweet, gentle man. He didn’t carry his ego on his shoulder. He was a true, wonderful musician. We sat down and we talked about how I felt. Show me what you mean. I’d tell him what I felt about the song. Then he’d run down the song.


JW: John also represented Nancy Wilson around this time.
BK: Yes. During my run at the Vanguard with Ramsey, John brought Nancy Wilson in to hear me. What John wanted to do with me is what he had done with Nancy—sign me to a major label and have me perform at supper clubs. [Pictured above, Bev Kelly in 1958]


JW: What happened when Nancy came in?
BK: He asked if I minded if Nancy [pictured] got up and sang. I had no problem with that. We are so different in how we do things. She had her own way on songs and I was way in another place. John Levy insisted I play a lot of different clubs, but I always had my son with me, making that tough.


JW: Wow, talk about being torn in two different directions.
BK: Greg had had too many bad experiences with terrible babysitters, and that’s when I realized I couldn’t be a singer and a mom. After the Vanguard, I sat down with John [pictured above]. He had some plans but I said I didn’t think I could do it.

JW: What did he say?
BK: He said, “You’re like a wild horse. I just want to put a little polish on you.” But in order to put a little polish on, I had to go on the road extensively, which I didn’t really want to do.


JW: Did you tour to promote Love Locked Out?
BK: Yes, in 1960. When I was back in Chicago with Greg, I decided to take a trip to promote it. Foote Higgins—Eddie’s first wife—went with me. I was still separated from Chuck at the time and I had Greg with me. Foote and I made it to Las Vegas where Chuck was appearing with the Modernaires. Greg hadn’t seen his dad so he stayed with him. Foote and I took Chuck’s little Renault to do a tour of the West Coast.

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Used with permission by Marc Myers