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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 inspiring questions that filmmaker Raymond De Felitta pursues in this absorbing, emotionally compelling documentary. De Felitta became obsessed with Paris after hearing him on a Los Angeles radio state. 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 represent the song “Round Midnight,” was named Best Unique Male Vocalist for 1953 by Downbeat magazine, recorded two albums under his beget 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 blueprint 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, calm 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 retort the inquire of of why Paris never hit it tall, but, perhaps more distinguished, explores the very nature of creativity and all the obsessions, honorable intentions, and personal demons that fuel it. “Tis Autumn: The Search for Jackie Paris,” is valuable viewing for anyone involved in jazz, and in what separates winners and also-rans, not only in music, but in any scuttle of life.

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There is no doubt, upon hearing his issue, that Paris was one of the best jazz singers in history. The expect then becomes: Why doesn’t anyone know his name?

“Tis Autumn” delves headfirst into this seek information from, providing viewers with a eye into a life which is in turns impossibly ravishing and disturbingly mundane. This is the anecdote of a stout man whose flaws and terrible choices did as distinguished to earn 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 respond 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 explore into this unlikely life.

Technically, the documentary is very well done. Respectable pacing and storytelling. The film maker is not apprehensive to ask tough questions and peek 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 genuine. Paris’ whine was objective as ample at 78 as it had been at 28, if not better. The scenes from the “comeback” concerts are piquant.

Several days after watching “Tis Autumn,” I collect myself humming along to one tune or another from the film. That’s unprejudiced as well, because it would be a shame to forget Jackie Paris now that I’ve discovered him.
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