Freddie Hubbard is an icon! He recorded my tune SWEET RETURN (1983) and put it in his Song Book making me historical (herstorical). I sat at the feet of Miles, Diz, Buhaina, Shepp, Yusef, Rahsaan, McCoy, and Ron Carter, learning all I could about the art of improvisation. I sat with Helen Morgan 3 years before she shot Lee. I AM JAZZ!
I’ve been in conversations with Ella, Betty Carter, Irene Reid, Ruth Brown, Abbey Lincoln, and Dorothy Donegan. I was THERE at the Blue Note, Slugs in the Far East (Village) with Lee Morgan, Buhaina, Miles, Frank Foster, Charles McPherson, Bill Hardman and Joe Lee Wilson, Village Gate, at the Galleon (Bronx), and the Village Vanguard with Lou Donaldson, Dr. Lonnie Smith who recorded my first demo tape with me that got me gigs all over the European continent. Ellington’s bass player Aaron Bell first listened to my tune “Loneliblue” and said the musicians would love playing it.
In Philly, Gerald Price taught me composition and piano, and in New York, Barry Harris was my teacher on piano and vocals. Budd Johnson was my babysitter from 4-8 years old. Milt Hinton (The Judge) was my cousin’s Godfather and he got me my first gig in Berne, Switzerland, at Marion’s Jazz Room, in 1990. I sat on Jay McShann’s lap and asked him to marry me. I proposed marriage to Quincy Jones just before I interview him for my Master’s Thesis, The Cultural Politics of Commercial Jazz, in 1993, which explained why I had to go to Europe (1990-1998) to make a living. In July 2013, I gave my book A History of African American Jazz and Blues to Quincy with the interview I did of him in 1993, 20 years earlier, in the exact same building – Stravinsky Hall, in Montreux, Switzerland [photo].
I AM Jazz!
I am the Chronicler of this music. While everyone else was PLAYING, I was documenting it. I met Quincy Troupe, co-writer of Miles’ biography. I penned lyrics to A NIGHT IN TUNISIA, TUNE UP, BLUE BOSSA, and BESSIE’S BLUES and sang them all over Europe, the East Coast of the USA, and in China and Japan. I Am the female Jazz Messenger, who sang on Jazzmobile with Buhaina, Frank Foster, Frank Wes, George Coleman, and Charles McPherson. The first person to take me on the road was Philly Joe Jones, who took me to Baltimore to perform with Shirley Scott, Arthur Harper (bass), and Sonny Stitt, in 1978. I AM the only woman in the world with a Jazz and Blues Song Book that I submitted to the Guinness Book of Records.
Google me - www.joancartwright.com. But, more importantly, I am the foremost authority on Women in Jazz and Blues and I will not be quieted about the role of women as the Mothers of the Blues and the innovators of Jazz. That’s why, in 2007, I founded www.wijsf.org to promote women musicians, globally! That’s why, since 2008, I’ve interviewed over 200 women composers at www.blogtalkradio.com/musicwoman
That’s why I created the Jazzwomen Directory that features 90 women musicians that most musicians, let alone people, do not know about and I put 40 of them in my book Amazing Musicwomen that I taught over 10,000 students (3-12 grade and college) in the U.S., Switzerland, Sicily, China, and Japan about.
I AM JAZZ!
READ my books:
The Value of a Musician
The value people place upon musicians is equal to the value musicians place upon themselves. That value builds from learning and doing what musicians do – excel on an instrument, compose popular music, and perform concerts as foreground or background to events produced by a variety of entities – memberships, societies, associations, corporations, families, partnerships, and individuals.
Originally posted on Nicholas Payton:
There is no such thing as jazz, and any idea of what that might be is false. It’s impossible to build a tradition upon something that was never a designed to be a true expression of a community. The very existence of jazz is predicated upon a lie, just like racism.
To speak of “jazz tradition” is like to speak of “racial justice.” It’s not possible to have justice within the confines of race because race was specifically designed to subjugate certain people to an underclass so that the “majority” thrives. Injustice is inherently built within the racial construct. There has never be any any tradition within jazz other than to ensure Black cultural expression is depreciated and undervalued.
What’s made clear from the very first recorded jazz, à la The Original Dixieland Jass Band, is that it doesn’t have to adhere to the common standards that makes Black music what…
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Watch FEMME THE MOVIE
Originally posted on MUSE2013:
Yekra is a revolutionary new distribution network for feature films.
Femme “A celebration of women around the world actively transforming and healing our global society. Sharon Stone and leading experts in religion, science, history, politics and entertainment, discuss solutions to the multiple crisis’ we are faced with. Femme focuses on utilizing a feminine approach with nurturing energy to inspire a new hope for the future.”
We need 100 signatures on this petition ASAP
Join our FB page: www.facebook.com/symposiumonwomeninarts
- Women benefit from 1-5% of public funding of the Arts. WIMUST Report
- Women pay 53% of the taxes on the planet but make 64-75 cents on the dollar men make
- Women contribute 93% of their income to their families. Men contribute 43% to their families.
- Of 134 NEA Jazz Master Awards since 1982 with a $25,000 honorarium, only 15 women received this award
- Lilly Ledbetter’s Fair Pay Restoration Act, signed by Pres. Obama in 2009 does not include women musicians
- Girls In The Band a film by Judy Chaikin interview on my show MUSICWOMAN Radio
- Ellen Seeling, Montclair Women’s Big Band (CA) See this video I made of interview on KCBS with Ellen Seeling:
- Dotti Anita Taylor former President of IWJ (NY)
- Nicki Mathis, founder of The Many Colors of Women (Conn.)
- Janice Rhoshalle Littlejohn, filmmaker
- Patricia Adkins-Chiti, President of Fondazione Adkins-Chiti: Donne in Musica and photos of women composers in Europe last July 2014 at the WIMUST Conference
- See the WIMUST Report
There is an elephant in the room where decisions are made to fund music ensembles composed of all men, who receive salaries of $100,000, annually, to tour the world and perform Jazz music, in particular. In this video, Ellen Seeling mentioned that advocacy for the end of racism in the music industry, especially in orchestras, was initiated by bassist Art Davis. Though he lost the 10-year suit against the NY Philharmonic, his advocacy set a precedent for selection panels to use blind auditions, which led to the increase in the number of women and people of color in orchestras.
The issue of gender discrimination is a beast and women should have SOUR GRAPES about being marginalized in the ARTS. It’s not just a PERSONAL BEEF. It’s not just HER cause, it’s OUR cause. All the women musicians and composers on EARTH who have been omitted from the annuls of musicians, music, and earning a living the way 95% of the people – men – in the MUSIC INDUSTRY do from OUR TAX DOLLARS. Mike Rubenstein This should be a CLASS ACTION SUIT against NEA and every federally-funded ARTS program that does not benefit women who pay taxes. Women are barred from earning the income that men earn in publicly-funded orchestras and bands. THAT is the problem and women should make a LOUD noise, since it is their tax dollars that fund all-male ensembles.
The solution is to grant the Montclair Women’s Big Band public funding in the amount of $2,500,000 to enable band members to earn $100,000, annually, to tour the world. [Solution #1 suggested by Joan Cartwright, Founder of www.wijsf.org]