Musicwoman Magazine Spring 2020

Gail Boyd

Gail Boyd is President of Gail W. Boyd, P.C., an entertainment law firm, and Gail Boyd Artist Management, a wholly owned company of the law firm. She is a graduate of De Paul University and De Paul University School of Law. She was a founding partner in Boyd, Staton and Cave, the first African American female law firm in New York. Boyd serves on the Boards of the Martin Luther King/Coretta Scott King Memorial and the North American Performing Arts Managers and Agents. In October 2019, she was elected as President of that organization. As a lawyer, Gail Boyd has represented jazz artists such as Betty Carter, Tommy Flanagan, Kenny Barron, Gretchen Parlato, Michael Olatuja, Camila Meza, James Francies, Record Executive Steve Backer, and Randy Weston. Artists currently represented by Gail Boyd Artist Management are: John Clayton, The Clayton Brothers Quintet, Brianna Thomas, Don Braden, The Clayton-Hamilton Jazz Orchestra, Scott Tixier, Richie Goods, Lakecia Benjamin, Michael Olatuja and Dancer/Choreographer Jade Solomon Curtis.

How I Became a Talent Agent by GAIL BOYD

In the 50s and 60s, my father was a DJ in nightclubs in Chicago. He was known as QT the Blues Fool. Back then, club DJs were called “record turners”. Promoters from various record companies traveled around the country giving free music to record turners in hopes that they would play the music in their clubs to create an interest in the music, thereby sending people to the record stores to purchase the new music. So, my father had a huge record collection.

Daddy loved jazz and blues. He spent days on end telling me about blues and jazz musicians and played their music for me. I learned about Shirley Scott and Stanley Turrentine, Ray Charles, Fats Navarro, Blue Mitchell, and, of course, Duke Ellington, Count Basie, Ella Fitzgerald, and Sarah Vaughan. My parents were divorced, and I split my time between them. Not knowing what to do with a girl on the weekends, when I was with him, I spent most of the time being grilled on “guess who this artist is?” One musician he had taken a particular fondness for was John Coltrane. He loved the quartet featuring McCoy Tyner, Jimmy Garrison, and Elvin Jones.

Since I was five, I knew I wanted to be a lawyer. By 12, I knew I wanted a career in music. When I needed a moment away from parental authority, I would tell my mother I was staying with my Dad, and I would tell my Dad that I was going home. That would give me a few hours to get into mischief, although I was a book worm and was not very mischievous. My father mentioned that the John Coltrane Quartet was coming to town. The club where he was set to play was on the bus route that led from my Dad’s house to my house. I don’t remember the name of the club now, but it may have McKees.

With book bag in tow, dressed in my pleated skirt and Bobby socks, I went to the club on 63rd

and Cottage Grove, right after school. I spoke to the owner and said that I wanted to see John Coltrane. When he asked my age, I told him I was 15. As he was explaining that I couldn’t come in the club because of my age, I said, “Look Mister, I don’t want to drink, I just want to see John Coltrane! He relented and told me that I could come back after the show started but that I couldn’t sit in the booths. I could sit near the doorway once the lights went out.

I remember Jimmy Garrison humming loudly while he played his bass. I remember what looked like sparks coming from Elvin Jones hands while he played his drums. I remember McCoy looking at the two of them as if trying to stay in sync. But what I remember more than anything was the look of absolute peace and serenity on John Coltrane’s face. It was almost as if he wasn’t in the room but had transitioned to another time and place. I was mesmerized. How could jazz make a person feel like that. Where was it that music transported him? I wanted to go there! I knew from that moment that I wanted to work, not just in music, but in jazz. I had seen nothing before that brought that look of peace to someone’s face while working and I wanted in on it.

I went on to college and, eventually, law school. I started a law practice in Chicago and volunteered whenever I could to learn the business of music. Betty Carter was one of my first clients. She told me, “You don’t want to be a lawyer. You want to be a manager.” Well, that is how I got here. To this day, I thank Betty for her stewardship and being one of my important mentors in this business.

Through the years, I have been blessed to work with some of the best in the business of jazz. I continue to love what I do as I do what I love.

I knew from that moment that I wanted to work, not just in music, but in jazz!

Gail Boyd