Travel and Earn

Dear WIJSF Members,
As you know travel is a large part of what many musicians do. Personally, I’ve performed on 5 continents in 16 countries. With 196 countries on the planet, that leaves 180 countries for me to visit.  Places I’d like to return to are Athens, Greece, Taormina, Sicily, Bahia and Rio de Janeiro, Brazil, and Capetown, South Africa. Also, I plan to visit Tahiti, Santorini, Greece, Fez and Marrakesh, Morocco, and Barbados.
I am now in my 60s, not many clubs, festivals or jazz societies are reaching out to me. But my wanderlust continues.  So, I am now a Referring Travel Agent (RTA) with my own home-based business at www.fyitravel.us, where I just booked my hotel room, when I went to Birmingham for the Steel City Jazz Fest, where I met our member Gail Jhonson with Jazz in Pink on June 7-8. I made a commission on that booking, which is something I NEVER received, since 1990, when I began touring.
 
When I joined the travel biz in March, I paid $249, plus $50 a month for my website.  Starting on Monday, July 14, YOU can join my team for $99, and you will not pay for the website until October 1 and, if you bring 3 people on to your team, you will pay $0 for your website as long as they remain active.  Check out my blog – www.fyitravelclub.wordpress.com.
 
WHY have your own travel site? Go to this link www.60mba.com and see what you like best about it.
 
By the way, our immediate past Vice President Lydia Harris introduced me to Lucretia Daniel, who is our Travel Director.  Lucretia became a member of WIJSF on June 1, 2014. She supported our organization the same way I supported her organization. Now, we are planning a Women in Jazz event at Sandals all-inclusive resort in Turks & Caicos in 2015.
As all the musicians in WIJSF know, living on a musician’s income can be extremely challenging. We all must supplement our income, somehow.  So, I encourage you to go to www.60mba.com and, if you see something that interests you, respond to this email or call me at the number below and THANK YOU for supporting women musicians, globally. 
Thanks,
1fyitravel-us-bizJoan Cartwright, Executive Director
(276 members, 148 musicians, 51 men)
FYI TRAVEL, Referring Travel Agent
954-740-3398
Support women musicians!

I AM JAZZ

Of course Jazzmen are dynamic.  So are Amazing Musicwomen!

jazzmen womeninjazz

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!

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Joan Cartwright, Freddie Hubbard, Jerry (owner of Allotria in Munich, Germany) Jeff Chambers, lady, Ronnie Matthews circa 1993

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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.

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Joe Lee Wilson and Joan Cartwright, Brighton, England

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With Lou Donaldson at Jazz Inn, London, UK

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Joan Cartwright and Dorothy Donegan, Marian’s Jazz Room, Bern, Switzerland (1996)

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Abbey Lincoln and Joan Cartwright, Montreux Jazz Festival (1993)

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Joan Cartwright and Betty Carter, IAJE Conference, El Paso, TX, 1993

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!

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With Quincy Jones, Montreux Jazz Festival, Switzerland, at Claude Nobs’ Chalet, 1993

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.

JoanCartwrightSongBook               jc-historybook

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

amazing_musicwomen_softcover   amazing_musicwomen_hardcover

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!

Hear me SCAT!

Joan Cartwright and Dizzy Gillespie, Sunfest, West Palm Beach, FL 1985

Joan Cartwright and Dizzy Gillespie, Sunfest, West Palm Beach, FL 1985

READ my books:

In Pursuit of a Melody by Joan Cartwright  In Pursuit of a Melody

 

www.joancartwright.com

 

The Value of a Musician

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.

Read more . . . 

Black American Music and the Jazz Tradition

musicwoman:

No Jazz?

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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Femme The Movie

musicwoman:

Watch FEMME THE MOVIE

Originally posted on MUSE2013:

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Yekra Player

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

www.change.org/petitions/women-in-jazz-south-florida-inc-hold-a-symposium-on-women-in-arts

Join our FB page: www.facebook.com/symposiumonwomeninarts

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Symposium on Women in Arts

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These points people need to be aware of:
  • 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
This is the interview that I talk about why I founded Women in Jazz South Florida, Inc.
Check out these women, also:
  1. Girls In The Band a film by Judy Chaikin interview on my show MUSICWOMAN Radio
  2. Ellen Seeling, Montclair Women’s Big Band (CA) See this video I made of interview on KCBS with Ellen Seeling:
  3. Dotti Anita Taylor former President of IWJ (NY)
  4. Nicki Mathis, founder of The Many Colors of Women (Conn.)
  5. Janice Rhoshalle Littlejohn, filmmaker
  6. 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
  7. See the WIMUST Report
On May 2, in Atlanta, I will be honored as the Lady Jazz Master @ www.bwijawards.com
(PLEASE VOTE FOR ME as composer and for our 4th Compilation CD at this link: http://www.bwijawards.com/final-voting.php)
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Blues Women: First Civil Rights Workers

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The African voice inspired instrumentalists.  Vocalese was a dialogue between vocalists and instruments.  Each person had an individual sound and instrumentalists imitated the voice’s cries, growls, moans, slurs, whispers, shouts and wails.  Blues was the element of American subculture created by enslaved Africans, singing European music.  Considered crude by classical listeners, Blues liberated singers from precise pitch and calculated rhythms of European music.  Black singers emerged from Spirituals and Blues to develop Jazz.  Their free-spirited songs delivered messages of liberation, signaling to Africans in America that they could be free.  Blues women were the first civil rights workers because their songs symbolized liberty in its rawest form by tapping into the human spirit.  Angela Davis recounted Marx and Engles’ observation that art as “a form of social consciousness [awakens] . . . those affected by it to . . . transform their oppressive environments” (Davis, 1999).  Blues were popularized by Gertrude “Ma” Rainey (Columbus, GA, September, 1882 – December 22, 1939), The Mother of the Blues (Cartwright, 2008, p. 9).  A spokesperson for black people, she was a hero to them.  She recorded hundreds of songs on Paramount, putting that recording company on the map.  The most popular Blues singers established a rapport and rhetoric with the crowd.  Ma Rainey took Bessie Smith under her wing and Blues tradition developed as one followed another.
amazing_musicwomen_softcover

This book Amazing Musicwomen has lots of information about Billie HolidayElla FitzgeraldDinah WashingtonMarian McPartland, Peggy Lee, Toshiko AkiyoshiAlberta Hunter, Bessie Smith, Ethel Waters, and other Musicwomen. Musicwoman Radio and Musicwoman Magazine tell the stories of Amazing Musicwomenwho paved the way for vocalists, song stylists, singers, composers, and instrumentalists. Their songs are from The American Song Book that includes original songs like Alberta Hunter’s “Downhearted Blues”, “Handy Man”, and “Rough & Ready Man” plus songs of Broadway composers of the early 1900s, Duke Ellington, Billie Strayhorn, Hoagy Carmichael, Johnny Mercer, Cole Porter, Rodgers & Hammerstein, Fats Waller, and Broadway composers Michel LeGrande, Stevie Wonder, Burt Bacharach and Isaac Hayes. [NOTE, after Alberta Hunter, the absence of women composers. Who were they? Does anybody know?] OK, Barbra Streisand, Carol King, Carly Simon, Roberta Flack, and who else? www.lulu.com/spotlight/divajc

Buy the book

Buy the download

References

Cartwright, J. (2008).  Amazing Musicwomen.  FYI Communications, Inc.

Davis, A.Y. (1999).  Blues legacies and black feminism. New York: Random House.

©2014 Joan Cartwright, M.A.

Equal Public Funding of Women’s Music

art davisThere 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.

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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]

Women in Jazz South Florida, Inc. is 501(c)(3) non-profit corporation that promotes women musicians, globally. WIJSF is a membership organization with dues-paying members that support women’s music in Florida and around the nation and the world.
Grant WIJSF $75,000,000 to build an Archive of Women’s Music with a theater and staff that will be responsible to identify and contract professional women musicians, composers, and ensembles to perform, facilitate workshops, and write music for events, film, television, radio, advertisement, and other musical endeavors. [Solution #2 suggested by Joan Cartwright, Founder of www.wijsf.org]