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

 

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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.
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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.

Why are there no good jazz gigs?

Regarding an article posted on a UK Blog – THERE ARE NO GOOD JAZZ GIGS, I would like to address some of the comments in this article:

1. The huge increase in the number of jazz festivals over the last decade as proof that it’s not nearly as bad as some people would have you believe. D C Dowell of www.apassion4jazz.net says that the number of jazz festivals has increased tenfold over the last decade and www.jazzfests.net has over 1,000 jazz festivals listed for Europe alone. MOST OF THESE SO-CALLED JAZZ FESTIVALS USE THE WORD “JAZZ” TO KEEP THE COST OF INSURANCE LOW. THEN, THEY BOOK ARTISTS THAT ARE NOT EVEN CLOSE TO BEING JAZZ ARTISTS – THEY ARE R&B, ROCK, REGGAE ARTISTS – BUT THE WORD JAZZ IS USED TO ATTRACT A MATURE AUDIENCE. IF THEY SAID IT IS A R&B OR ROCK FEST, THE INSURANCE WOULD BE SKY HIGH.

2. Much of the jazz musician’s malaise probably stems from his own experiences – playing an endless round of background music gigs where he is largely ignored or at conservative venues where he feels obliged to play standards in a mainstream style. These gigs often form the majority of his performing life and venues that actively promote jazz seem to be depressingly few in number. THE MAJOR PROBLEM IN THIS COUNTRY AND IN EUROPE IS THAT JAZZ IS A “HE/HIS” GENRE – A GOOD OLE BOY CLUB. WOMEN PAY 53% OF THE TAXES ON THE PLANET BUT WOMEN’S MUSIC REAPS ONLY 1-5% OF THE $27.5 BILLION IN THE MUSIC INDUSTRY AND FROM PUBLIC FUNDING. THIS IS A HUGE IMBALANCE. I SEE GREAT OPPORTUNITY IN THIS AS THE FOUNDER OF A NON-PROFIT THAT PROMOTES WOMEN MUSICIAN’S – www.wijsf.org

3. Going to jam sessions is the only ‘self-promotion’ that they do. They’re clinging to a hopelessly old-fashioned paradigm of the music business and are doomed to failure and frustration if they refuse to change. THE JAM SESSION IS WHAT HAS KILLED NOT ONLY THE JAZZ SCENE BUT THE MUSIC SCENE. OPEN MICS WITH HIP HOP AND RAP ARTISTS HAS MADE IT SO THAT ENTERTAINERS (I DO NOT CONSIDER HIP HOPPERS AND RAPPERS MUSICIANS) PERFORM FOR FREE. CLUB OWNERS HAVE GOTTEN USED TO THE PARADIGM THAT THEY DON’T HAVE TO PAY FOR ENTERTAINMENT BECAUSE OF THE DESPERATION AND EGO OF THESE AMATEURS WANTING TO GET UP ON A STAGE TO DISPLAY THEIR SO-CALLED TALENT, LEAVING PROFESSIONALLY TRAINED MUSICIANS OUT IN THE COLD. ORIGINALLY, JAM SESSIONS TOOK PLACE IN THE WEE HOURS OF THE MORNING, AT ONE OR TWO CLUBS, AFTER THE MUSICIANS GOT OFF FROM WORK. TODAY, THE JAM SESSION IS THE GIG, WITH THE BASSIST AND DRUMMER GETTING PAID (MAYBE) AND OTHER MUSICIANS AND VOCALISTS COMING UP ON STAGE TO DO A SONG OR TWO. IT’S PUT MOST MUSICIANS IN THE POVERTY CLASS.

500 Years A Slave Is Enough

500 Years A Slave Is Enough.

This is so true. Why not have Hollywood donate some money to some Native Americans, who can produce some films about how they triumphed as well.

The whole scene in this country is detrimental to the health of all of us. Mental, physical, emotional, and spiritual health.

Stop your frikken movies.

JC

END PATRIARCHY NOW: MESSAGES IN WOMEN’S MUSIC

newmembers-wijsf13WAKE UP WOMEN. Understand how you are controlled!

The main issue is that women who are not musicians do not consider this an important cause. It is very important because society gets its messages from cultural producers and, if women’s music is not being heard and received, then society-at-large is losing all the way around. While women in other professions make 75 cents to the dollar that a man makes, women musicians only make 64 cents. GET IT? This is how the patriarchy continues – by blocking the messages in women’s music. WAKE UP WOMEN. Understand how you are controlled.

Help us to promote the music of women composers and musicians, who are terribly marginalized in the $27.5 billion music industry.

Did you know that, although women pay 53% of the taxes on Earth, only 1-5% of public funding goes to women musicians and their musical projects?

This is UNACCEPTABLE and it is the MAIN reason why society is off kilter because the messages in women’s music are not being heard by the masses that thrive on disturbingly violent video games, TV, film, and cable programming, loud and womanizing popular music, and overall patriarchal ideas.

If we as women do not promote our endeavors, who will? Join us in our mission to promote women musicians, globally, www.wijsf.com/mission.htm – www.wijsf.com/join.htm –

WAKE UP WOMEN. Understand how you are controlled!

This article discusses why women will not support each other in an effort to end patriarchy.

http://www.angelfire.com/ok/4equity/m2.html

MUSICWOMAN MAGAZINE Launch

15 years in the making, MUSICWOMAN MAGAZINE is the brainchild of composer and vocalist Joan Cartwright, founder of Women in Jazz South Florida, Inc. and host of MUSICWOMAN RADIO, in the 7th year of featuring women who compose and perform their own music and men who support them.

Ms. Cartwright is an author of 10 books, produces concerts and events, researches and documents women in jazz and blues, and in music, in general.  She is a noted composer, having two CDs of her own and three compilation CDs with 27 women composers, released in 2011, 2012, and 2013.The articles in this publication will reflect the lives, work, and passion of women like Ms. Cartwright, who claim music as their profession.  Authors, journalists, photographers, musicians, critics, and fans are encouraged to submit articles to the Editor.Also, we encourage any and all advertisers to see our RATE SHEET and inquire about advertisement in MUSICWOMAN MAGAZINE.

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Stealing the Blues

The account below about the origin of Memorial Day serves to support my contention that these books should be required reading in High School because they tell the truth about how Africans in America survived the horrors of slavery through music and how their music has been copied and commercialized by white producers and all but ignored by black people.

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One of the things that most black people know is that the public school system does a horrible  job teaching black history. They will gladly tell you all the wonderful things that white people did and maybe even go back to Europe, but the contributions of African Americans are kept entirely on the back burner. [Source]

A fact that you should probably know is that African Americans are the reason that Memorial Day even exists in the first place.  According to Professor David Blight of Yale University, the event began on May 1, 1865.  A group of former slaves in Charleston, SC gave a proper burial to 257 Union soldiers who’d been put into a mass grave.

The black community of Charleston then consecrated the new cemetery with “an unforgettable parade of 10,000 people.”  The event was initially called “Decoration Day” and was led by 3,000 black school children who started off by singing the song “John Brown’s Body.”  They were then followed by hundreds of black women with baskets of flowers and crosses.  After that, black men marched behind them in cadence, followed by Union infantry.

The Union soldiers lived in horrible conditions, and 257 of them died from exposure and disease.   This was the reason for the creation of the mass grave site.  A total of 28 black men went to the site an re-buried the men properly, largely as a  “thank you” for helping fight for their freedom.

They also built a fence around the cemetery, and on the outside, put the words, “Martyrs of the Race Course.”

Dr. Boyce Watkins, who created an online course based on a forum held with Minister Louis Farrakhan last month, says that this is simply the tip of the iceberg.  He says that misinformation is one of the most storied weapons used to perpetuate the oppression of black people. 

“Black people must, as part of our healing, go back and rewrite history to ensure that we learn the truth,” said Dr. Watkins. “You’ve been lied to for your entire life, so it is up to all of us to use the Internet as a critical resource in helping us to learn who we truly are.  We are great people and America would not be the country that it is today without our sacrifice.”

Now you know the rest of the story.  Go tell this one to everyone you know and consider acquiring and reading the books posted above.

Three Surprises

Since May 14, I have been on a leave of absence from my coursework and from most other activities, although I’ve had some loose ends to tie up. An invitation to attend the WIMUST Conference in Italy, led me to set up a crowdfunder for the travel expenses. Over 50 people donated over $2,000 in five weeks and I’m still expecting more to be donated. Donate to this travel fund at http://www.gofundme.com/jc-wimust

jeanniecheathamToday, I received two very surprising phone calls that confirmed my conviction that the work I do to promote women musicians is appreciated and necessary.  The first call came from California.  Jeannie Cheatham called to tell me about an article in ELLE magazine on Women in Music.  Jeannie questioned why the writer omitted women in jazz and blues and she called me to ask why there were no veteran women in music represented and if I thought Alicia Keys is a jazz musician.  I told her that times have changed and Jazz is not Jazz anymore. Alicia’s music is based on the two-chord theory that most of the other musicless hit songs of the day are based on.

Jeannie Cheatham was my guest on MUSICWOMAN RADIO on August 25, 2010.  Jeannie said she believed I knew the women in jazz and blues who should have been featured in that article. I concurred and recited a litany of names including:

I told Jeannie that these women and women like her are not on the “A” List of women in music, although they are on the “A” list of women in Jazz and Blues, along with several others who perform frequently in the Northeast, on the West Coast, and around the world.  I asked her if Esperanza Spaulding was in the article. Yes, the fledgling bassist/vocalist/composer is in the article. I told Jeannie, this is the new breed of women in music. These are the curvy darlings of the industry and we, at 65 and 84, are no longer in the running because the culture is about image, now, rather than about artistry and music. She asked me to mail her the list of women I felt should be highlighted. I agreed to do this, immediately.

The second call came from Hong Kong. Magda Machado called to say that she wanted to donate to my project but that she’d given up her bank account and credit cards and was going to send me money by Western Union.  I was very surprised.  She told me the work I’m doing is very important for women musicians and she wanted to help me get to Fiuggi, Italy in July. She said I could pick the money up at Publix tomorrow as she was on the way to the doctor’s office and would telegraph the money to me, immediately.  I was floored to hear from this Brazilian woman who thought enough of me to call me from China – Maguinha-Magda Machado Garshol.

Then, I thought what a blessing to have women like these in my life – women like Jeannie, who understood why I had to find her, after starting her book Meet Me With Your Black Drawers On, why I had to search her on the Internet and track her down from the number on her website.  Magda understood me too, although she’d only met me once, face-to-face, and was my guest on MUSICWOMAN RADIO on November 4, 2009, just before she departed Florida for Hong Kong, where she’s been ever since, reluctantly, until she met a woman composer who is helping her write down here music.

The third surprise was a link to an article entitled Why Musicians Make Our Brains Sing posted on the StooshPR Group page and tagged to me.  This article asserted that, “each act of listening to music may be thought of as both recapitulating the past and predicting the future.”

In light of that assertion, I concluded that, although I’m about to be extinct as a jazz vocalist, I can rest assured that I have touched many hearts not only with my music but with my non-profit organization Women in Jazz South Florida, Inc. that has the mission of promoting women musicans, globally, whether they are old, young, curvy, fluffy, obscure or famous. The messages in women’s music MUST be heard and we must Consciously Include Women Musicians in all programming, particularly that funded by public taxes.