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Workshop Jazz 2001 (A), May 1962
b/w I Remember You
(Written by Ernest Gold and Pat Boone)
Before founding Motown, label boss Berry Gordy Jr. had lost a lot of money in the early Fifties running a Detroit record store, the 3-D Record Mart / House of Jazz, which went bust in 1955 after two years of struggle. Received wisdom has it that the problem with the business was Gordy’s refusal to stock the blues and rock records his customers were looking for, Gordy instead preferring to carry jazz, which he loved but which sold poorly.
Reams of material have been written about how the lessons Berry Gordy learned in this harsh commercial education – never forget the mass market, always make sure the customers get what they want, artistic is not necessarily popular, popular is not necessarily un-artistic, never disappear up your own arse – led directly to the successes enjoyed by Motown a decade later. Nonetheless, Gordy still clearly cherished the dream of being a respected figure in the jazz world, a Name in the “hep” crowd.
To that end, he launched the Workshop Jazz label in 1962, in a belated bid to once again make a success of jazz music. Mindful of his previous failure, the new label would be unmistakeably a jazz label, but with a commercial edge, releasing jazz records with a pop/R&B bent, more accessible than the stuff being released on the pure straight jazz labels, the stuff which had remained on the shelves of Gordy’s old record store while the repo men shuttered the place up. This time, Gordy predicted, things would be different.
Once again, he failed, perhaps without ever quite understanding why. To me, sitting here with the benefit of fifty years’ hindsight, it seems likely that Workshop Jazz was a label serving a niche that no longer mattered to anybody. Jazz aficionados were already well-served with several established labels, and Workshop Jazz never had the credibility to challenge those, nor the promotional muscle to make a dent in their established distributor networks; meanwhile, those listeners who’d enjoyed the freedom and energy of black jazz records, but not the snobbery and tedious trainspottery obsessions that came with them, were now finding their attentions, and record-buying habits, drawn to the burgeoning R&B scene.
The problems are illustrated with this, the very first release on the Workshop Jazz label. Motown A&R chief Mickey Stevenson, tabbed to head up the new label, was a great songwriter and fine producer, but he was no Rudy Van Gelder, and few serious jazz aficionados were likely to rush to the shops to get their hands on a record with a writing credit by Pat sodding Boone, of all people.
Hank and Carol Diamond – about whom no biographical information seems to exist, either in the liner notes to The Complete Motown Singles: Volume 2 or anywhere else – here turn in an astonishing fifth version of this song in a little over two years. Ernest Gold had written the film score to the movie Exodus, and this was the main theme, originally recorded in an instrumental orchestral version in 1960, later covered by easy-listening piano gonks Ferrante and Teicher in a version that racked up big sales to the supper-club set and climbed to #2 pop in 1962. Pat Boone had written lyrics for his own version, when he recorded it as a vocal pop hit in 1961, still heavy on the orchestral flourishes; finally, jazz sax legend Eddie Harris had cut an entire Exodus LP for Vee-Jay that same year, including a superb instrumental jazz rendering of the main theme.
Bafflingly, though, when the time came to launch Motown’s new niche jazz label with a version of Exodus, Hank and Carol Diamond chose to cover Boone’s version, rather than Harris’ far superior cut. The end result is that, save for a coruscating burst of bebop trumpet at the start of the record, and some spirited double bass work towards the end, this is scarcely a jazz record at all; it’s middle-of-the-road pop stuff all the way.
The vocal melody is great, with some surprisingly modern changes to keep the listener onside, but the delivery (handled by both Hank and Carol in a two-handed joint attack) is rather stiff, and a little preppy, a little square – and after listening to Eddie Harris, surely nobody in their right mind would ever choose to buy this version instead. (Even people who weren’t in their right minds, looking for something a little easier and cheesier, had both Pat Boone and Ferrante & Teicher to choose from). The single failed.
Apparently, according to the liner notes to The Complete Motown Singles: Volume 2, Hank and Carol recorded enough “standards and show tunes” to fill a whole LP, but that was never to be; this appears to have been their only release, for Motown or anyone else.
The Workshop Jazz label wasn’t off to a terrific start. (Indeed, it’s a wonder anyone took the label remotely seriously after this kind of launch; in an area of music where credibility and cool were paramount, and in an era when many DJs felt comfortable just looking at a label to gauge the sound of the music contained therein, perhaps forming an association in people’s minds between the Workshop Jazz name and light, smooth, pseudo-jazz MOR material was a dangerous game to be playing.)
The new label would prove to be of most use in persuading the Motown house band, the Funk Brothers, discerning experienced jazz musicians to a man, that they’d get the chance to cut jazz LPs in return for their toiling away on what some of them apparently saw as throwaway pop records, thus keeping them onside for the future. But if Motown saw any future with this sort of thing, they were badly mistaken.
MOTOWN JUNKIES VERDICT
(I’ve had MY say, now it’s your turn. Agree? Disagree? Leave a comment, or click the thumbs at the bottom there. Dissent is encouraged!)
You’re reading Motown Junkies, an attempt to review every Motown A- and B-side ever released. Click on the “previous” and “next” buttons below to go back and forth through the catalogue, or visit the Master Index for a full list of reviews so far.
(Or maybe you’re only interested in Hank & Carol Diamond? Click for more.)
The Supremes “(He’s) Seventeen” |
Hank & Carol Diamond “I Remember You” |
Carole Diamond said:
Carole Diamond is alive and well and still performing weekly at the Sheraton Hotel in Tucson Az.
Hank Diamond passed many years ago and Carole has had a very succesful club career.
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Gordon Frewin said:
Hi Carole… this is interesting, and it’s certainly good to hear you’re still around, and performing too!
From the review above, the statement “Hank and Carol recorded enough “standards and show tunes” to fill a whole LP, but that was never to be” is to my knowledge, entirely accurate, but surely leaves the reader wondering, and potentially curious, over the range of material you DID record with Mickey Stevenson (and Clarence Paul) back in December 1961 as “The Diamonds”. Have you some recollections of the other songs recorded? The full song-list is easily searchable by those with access to it, but making it available has so far been overlooked.
Also in the above review and perhaps of concern to you, is another seemingly accurate statement — “…Hank and Carol Diamond – about whom no biographical information seems to exist, either in the liner notes to The Complete Motown Singles: Volume 2 or anywhere else”… and no one, as far as I can see, has been able to rectify this. Perhaps knowledgable other readers of this site, could throw some much-needed light here.
For me personally, I would really like to hear your recollections of the fledgling Motown Records of this time, and your experience at recording in the yet-to-be famous Hitsville Studios! Stay with us!
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nixonradio said:
Hello! I wrote the above review, and I’d also love to hear more – thank you very much, Carole, for visiting the site and sharing this update.
There is literally no further information about the Diamonds anywhere that I’ve been able to see – unless Google Books’ search feature for old back copies of Billboard etc. is deceiving me (or I’m not using it properly) – and the compilers of The Complete Motown Singles series seem to have drawn a similar blank, so any information you’re willing to provide would be very much appreciated. Something tells me there’s an excellent story there.
A couple of the reviews on the site relating to the lesser-known “hidden gems” in the early Motown back catalogue have attracted some very welcome attention since I started doing the site – the pieces on the Equadors’ sides prompted a lengthy discussion as to the group’s real identities, and I was contacted by the grandson of Eugene Remus in connection with the (extremely unfavourable) review I’d posted of his one and only single (sadly he’s so far declined my invitation to come back and provide some more information). Any time anyone wants to share “where are they now” updates and new information (or just disagree vehemently with something I’ve written), please feel welcome to do so!
Meanwhile, I’d like to wish all the best to Carole Diamond – I’m several thousand miles away from Arizona (and any mention of Tucson makes me involuntarily start humming the Beatles’ Get Back… I saw Paul McCartney playing live last week, which doesn’t help), but out of the thousands of people who read this site every day, I hope some of them go along to the Sheraton and raise a glass.
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Robb Klein said:
I, too, would like to hear comments from Carole on her time with Motown.
Regarding the “enough material for an LP”. If my memory serves me well, I recall seeing an album mock-up for Hank & Carole Diamond on Workshop Jazz, on a list of planned Workshop Jazz albums (this was in the mid 1960s). That list also included an album by The Four Tops (among others). It also included some albums by artists that actually did make it to commercial pressings.
I’d like to hear from Carole, if she remembers Mickey or Berry telling her that that album was planned to be scheduled. I think I’ve seen reference to 8-9 cuts by them. But, I wouldn’t be surprised to hear that 12 were already recorded before they scrapped the project.
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Gordon Frewin said:
Hey NixonRadio, I’m wondering if the ‘Carole Diamond’ who made the first post ever got back to you, re the interest shown above. Any news here? …was it a wind-up, perhaps someone having a laugh, or someone desperate to promote another (gotta be much younger) current artist in Tuscon Arizona, with the same name?
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nixonradio said:
No, nobody ever got back to me – I do get quite a lot of hits searching for “Carole Diamond Tucson Sheraton” or variations thereof, and I don’t know whether the Tucson Carole and the Motown Carol are the same person (different spellings, for one), but I’d like to think so, given the poster gave some information about Hank’s death which would have been really overstepping the mark for someone doing promotional work about a different performer.
Whether the poster was Carol(e) herself I’m less sure – the e-mail address used begins tveling169@, and I think they may have just mistaken the “name” field for a “subject” header (note the whole thing is in the third person). A mystery!
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Tony Veling said:
Not a mistake, I’m Carole’s husband. She just celebrated her 76th birthday. She suffers from the results of a stroke but still gets out to sing at least once a week.
Her daughter Angel Diamond also sings blues and standards around Tucson.
Check her out on u tube. We’ve been married for 40 years and Carole had a wonderful singing career around Santa Barbara, Ca.
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Carolyn McFadden said:
Carol and Tony are remembered & loved in Ventura, Ca. She performed often at different clubs in the area and Francine Smith accompanied her on the piano for many years. She could fill the room!!
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Myia Love Smith said:
I am the daughter of Hank Smtih and if anyone is aware of any other songs he is singing or playing on please post here. Would love to hear and read more!!!
Thanks!
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Kathy said:
Carole Diamond and her daughter Angel Diamond sing with the Arizona Roadrunners at the Fire and Spice Restaurant at the Sheraton on E Grant Road in Tucson on Tuesday night. I heard her tonight. Perhaps you can reach her through Doug Tidaback who is the director of the Arizona Jazz Academy.
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Robb Klein said:
I just listened to several cuts by Angel Diamond on You-Tube. She is a very accomplished and very soulful Jazz singer in her own right. Her band is very high quality. More worthy of Blue Note Records (had they been released in 1962) rather than Motown’s throwaway Workshop Jazz label. This only makes me want to hear some of the other Hank and Carol Diamond cuts, in case they are sung in a much more soulful manner than their somewhat emotionless version of “Exodus”.
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