Miles Jaye Ducks Label’s Sex Symbol Pitch

Those days when Miles Jaye was an awkward, braces-wearing fifth grader in Brooklyn who suffered the taunts of kids in the neighborhood because he was studying the violin seem pretty distant in more ways than one.

Today, Jaye’s a budding sex symbol thanks to “Let’s Start Love Over,” a mood-altering torch song that is No. 6 on Billboard’s black singles chart. The hit is reminiscent of those barrel-chested, ultra-suave R&B; smashes that Teddy Pendergrass used to record back in the late ‘70s.

But don’t suggest that Jaye, who records on Pendergrass’ Top Priority Records label, is following in the footsteps of the Teddy Bear of Soul.

“I don’t mind comparisons to him, because that just puts me among the elite,” said Jaye, 30, during a recent visit to L.A. “But Teddy fully intends to carry on in his own footsteps.”

Jaye, who writes most of his material and occasionally collaborates with Raymond Jones, a buddy from high school, will contribute two tracks to Pendergrass’ upcoming album. Jaye said that when he and Jones put together a demo tape and sent it to Pendergrass for consideration, it was only a matter of weeks before he met the R&B; star and was signed to his label. Jaye’s self-produced debut album, “Miles,” is currently No. 18 on the black album chart.

And while Jaye seems modest about his prospects as a candidate in the Pendergrass love-man tradition, Greg Peck, vice president of marketing and promotion for black music at Island Records (which distributes Top Priority) has already made public his plans to pitch Jaye as the next black male sex symbol.

It’s a concept that Jaye accepts with reluctance. “I never focus on that,” he said with a hint of embarrassment. “I don’t mind being promoted as a positive role model. That’s a role I try to fill at home with my own two children. But I think there’s a barrier to people accepting me as a sex symbol. Most people seem to respond to my musicality--not my sexuality.”

Don’t get the impression from Jaye’s comments that he’s too straight-laced. Jaye, after all, is a former member of the Village People, the disco group whose musical repertoire was heavily layered with sexual overtones. While he tends to downplay that phase of his career, he doesn’t intend to erase it from his resume altogether.

“When I joined the group in 1982, it was on its way down in popularity here in the States,” he said. “But we played to sold-out stadiums in Australia and Korea where tickets went for $50 per person. Overseas, we got the VIP treatment,” he said, adding with a laugh, “In the U.S., I had to take a taxi to (engagements).”

As a youngster, Jaye’s first love was classical music. Planning to become an orchestral string player, Jaye played the violin in his grade-school orchestra and went on to the Brooklyn Conservatory of Music and the Saratoga School of Orchestral Studies. It wasn’t until he joined the Air Force and was assigned to the Band of the Pacific--a military Top 40 band--that his musical preferences started to broaden.

After five years in the service, Jaye played for two years as an electric violinist in Eric Gale’s band, then put in another two-year stint as a musician and backup vocalist with jazz/pop singer Phyllis Hyman. Jaye, whose real name is Miles Jaye Davis, claims to have a real love for jazz, particularly the Big Band Era.

“It wasn’t economic considerations that made me choose R&B; over classical music or jazz,” he stressed. “I don’t feel as though I’ve turned my back on either.”

His dream, he added, is to record someday with his namesake--Miles Davis.

“I met him a month ago,” said Jaye, grabbing his chest in a catch-me-as-I-faint gesture. “I didn’t mention to him that I wanted to work with him--but I’d love it.”

Jaye lives in Maine with his wife and children (“they’re my anchor”), and tries not to focus too hard on what he referred to as “promotional schemes” being devised to take his career to that next level.

“I’m just having fun,” he admitted with a grin. “It’s fun for me to see how I’ve progressed from being that shy kid with a violin and a mouthful of braces.”