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!
Advertisements

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!

Image

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

Image       Image

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.

Image

Joe Lee Wilson and Joan Cartwright, Brighton, England

Image

With Lou Donaldson at Jazz Inn, London, UK

Image

Image

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

Image

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

Image

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!

Image

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

 

Blues Women: First Civil Rights Workers

Image

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.

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.

musicwomanmagazine

Singer

The Luxury of Being a Singer equates to being on the top of the food chain in most societies.  The musician sits at the table of the Chief.  In the court of Kings and Queens, singers are held in the highest esteem.  The 10 greatest benefits of being a singer are:

  1. Sleeping late
  2. Invitations
  3. World travel
  4. Applause
  5. Recognition
  6. Appreciation
  7. Good pay
  8. Good treatment
  9. Financial surprises
  10. Spiritual upliftment

Sleeping late is, by far, the best benefit of being a singer. Although I’m a morning person, most of my colleagues who perform around the world revel in sleeping until noon.  Since we work at night, usually between the hours of 7 p.m. to 2 a.m., we have the luxury of turning our phones off and sleeping well into the day, if we choose to.

Invitations are a large part of our relationship with other people, who love to introduce us as “Our Diva”.  It’s very flattering to go to a party or event and have the host or hostess bring their friends over to us, while declaring, “And THIS is our internationally-known Diva of Jazz!”  Happens to me all the time and I must admit, it’s a very good feeling to know that people think so highly of you.

World travel is not only a privilege but an eye-opener.  I’ve always believed that travel educates people to the ways of others, worldwide.  Having had the pleasure of living in Europe, South America, Mexico, China, Japan, and three African countries – Ghana, Gambia and South Africa, and around the U.S., while on tour, I know there is much more to life than going to work and coming home to watch television.  I started my travel blog, in August 2006, while living in China.  Since then, I’ve logged 29 cities and 8 countries.

Applause is the drug of musicians and singers get most of the fanfare.  Actually, many musicians hate singers simply because they get more applause.  That’s because singers bring the words to songs, connecting with the audience on a deeper level than most instrumentalists.  It’s just logical that lyrics tell a story that gives people a reason to understand the music being performed.  Even though American audiences tend to be a bit fickle about their artists and they talk during a performance, which can drive musicians nuts, you can get addicted to applause, when it comes.  European audiences are far more polite and attentive, while Asian audiences will smoke you out of the club.

A manual for up-and-coming Divas, Musicians and Composers

Recognition as an artiste is most important for the continuation of the craft of music.  Musicians thrive on recognition.  They compete for recognition and, if you’ve got your marketing techniques honed, you can outrun another singer simply by getting good press or distributing shiny fliers.  Of course, giving a good concert increases the recognition you get.  It’s all in how you do your business.  My book So, You Want To Be A Singer? spells out the steps necessary for a singer to take in order to be successful and recognized as a professional.  What I learned in 20 years of being a professional, internationally-traveled singer is contained in this book available at this link.

I’ve had the pleasure of sharing the information with children in grades K-12, bringing them information necessary for them to know before they jump out into the world of musical performance.

Appreciation is all most people want from others and singers get it every time they perform.  It’s so nice to have people walk up to you and say, “You have a beautiful voice,” or “I love the way you sing that song!”  If each person in the world got this kind of appreciation just once a month, the world would be a happier place to live in.  To be appreciated is to be seen and loved.  We all need to be seen and loved and appreciated.  But singers get more than their share of appreciation, especially if they are good at what they do.

Good pay comes with the territory.  However, recently, people have been trying to trim the fat from the pay of musicians. Budget cuts and financial downturn dictates that musicians are becoming less necessary.  Truth is music is what brought people back from the devastation of wars and financial crisis, since the beginning of time, and more recently in the 1920-1930s and in today’s volatile economic climate.  Music is the universal language and healer and the voices of powerful singers have always made people forget their troubles, if only for a few moments.  So, as Abbey Lincoln declared, “You Gotta Pay The Band!” and usually, the singer is the bandleader.  She or he is the one who got the call, the contract and the check.  Most musicians make in four hours what most people make in 8 hours.  Problem is they may not work five days a week, so their salary has to stretch a little further. In the end, it all balances out – but it’s still nice to be offered $300 to $3,000 for one gig.

Good treatment is paramount to good performance.  That’s why many contracts have riders stipulating that the musicians must have water, food and other comforts in their dressing room.  People jump to provide musicians with what they need.  The term “Diva” is applied to the female vocalist who is held in higher regard than musicians because she demands to be treated with respect and good treatment.  Of course, being spoiled can be the downside but it’s all worth it once she steps out on that stage and opens her mouth to tame the beast among men.  The envy of other women and most musicians, the Diva brings to life what only she can bring and being treated well is a perk of that ability to transform the audience.

Financial surprises ensue when a musician is on her or his job.  Tips can almost double the pay received.  I remember being in Zermatt, Switzerland, where I almost froze my buns off for four days.  The pay was minimal, only CH900 for four nights per musicians, which is very low pay in Switzerland.  We lived in the hotel that had no heat and this was at the top of the Alps.  We ate very well, but the pay was still very low.  However, one gentleman placed a CH1,000 bill in my hand, which I didn’t discover until he’d left, before I was able to thank him.  I was so thrilled that I called my father in Florida on the hotel phone to tell him. He said, “How much is that in U.S. dollars?”  I said, “About $750!”  It was CH100 more than I was getting paid for the entire four days of performance.  It definitely made up for the freezing nights and low pay.  Another time, I had a man pay$75 for my CD because it was the last one I had.  It was like an auction and the man gladly paid.  Then, after singing a very sultry, sexy blues, a man handed me his American Express Gold Card and left, soon after. I was baffled. What should I do with this?  My girlfriends said, “Go shopping!”  But I just couldn’t see myself signing on the dotted line for anything with this card.  I simply called him, got his address and mailed it back to him.  It was the thought that counted. I was truly flattered and now have this wonderful story to tell.

Spiritual upliftment is the ultimate reward for being a singer.  Not only does the ability to sing and bring music to the world life my spirits but it puts a light in the eyes of audience members.  I can recall feeling very low on the morning of a performance and feeling totally elevated the same night.  Music is the balm of ages that brings love, light and delight to millions, sometimes, all at one moment in time.  Ask Pavarotti, Whitney Houston, Michael Jackson, Ella Fitzgerald, Luther Vandross, Patti LaBelle how they feel about bringing such joy to other people.  I’m sure they feel like me.  I am delighted to have come into this life as a singer.  I love what I do.  I love who I am and there is no better position to be in. I’m convinced!

To book Joan Cartwright go to her official website.