Honey Jam Barbados

In my pursuit of melodies, I bumped into these lovely women in Barbados who are bent on keeping the tradition of Ella Fitzgerald’s scat singing alive and well. Women in Jazz South Florida, Inc.’s founder and director Joan Cartwright saluted Ebonnie Rowe, founder of Honey Jam Barbados at the Hilton Hotel in St. Michael, Barbados on January 26, 2017.

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Joan Cartwright of Women in Jazz South Florida, Inc. meets Ebonnie Rowe of Honey Jam in Barbados at the Tribute to ELLA!

Featuring Kellie Cadogan, Betty Payne, and more!

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Kellie Cadogan

Betty Payne

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Kellie Cadogan

Thanks to Lorraine Gibbs for taking me to this wonderful event!

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Jazzwomen Directory

To date, 96 women are listed in our Jazzwomen Directory

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Feel free to click on the links, watch the videos of our Amazing Musicwomen Presentation, and please share with others.

Join our global organization that promotes women musicians:

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Listen to the archives of over 275 podcasts with women composers:

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Listen and purchase our 6 CDs of women composers:

 

 

Music – Work or Play

jcbahamas7aMusic: Work or Play?
By Professor Joan Cartwright
[March 25, 2016] Most musicians begin their careers at four or five years old and continue until they die. Does the term play effect people’s thinking about what musicians really do? Does the action of playing music mean that musicians do not work?

In my 40-year career as a vocalist and songwriter, I have run into stone walls getting to the next level. I started singing at a theater in Jamaica, New York, at the age of four. By eight, I was a headliner in the annual Bernice Johnson Dance Recital. Mother doted on my Shirley Temple curls and my outfits of shiny tinsel and crinoline-lined, lacy dresses, not to mention the ballet, tap, and interpretive costumes my parents paid for.

I studied piano with a woman whose name is long forgotten. But her stern face never encouraged me to learn. I was 27 when I met Gerald Price, the musician whose demeanor catalyzed my growth as a vocalist, pianist, and composer. My harp teacher, Caliope Proios, with whom I studied for two years, listened to my life stories as she showed me the difficulties of changing pedals and string fingering.

In the seventies, my formal education involved music, but I dueled my B.A. with Communications, a new department, separate from English. Television production fell under this banner, with radio, journalism, marketing and advertising, while The Medium is the Message (1964) by Marshall McLuhan led me to do everything to get the message out that I am a musician and I have something to say.

For the first 10 years of my career, I was paid to do what I love – sing. But I was told that singing for free at benefits was good ‘for exposure’ by a singer friend. However, I decided that we would get more exposure standing on a corner, taking our tops off than performing at benefits. Finally, I told people, “I can do it, but I cannot ask musicians to work for free.”

After all, I worked (or played) with grown men and women who had children to feed and bills to pay. Every doctor and lawyer has pro bono cases in their filing cabinet that comprise less than 10% of their case load. But a musician, who plays for a living, is invited to perform at benefits at the ratio of three benefits to one gig. This had to stop and I was the only one who could stop it.

In 1990, I traveled overseas to sing in Switzerland, where I was treated with dignity. Europeans do not see musicians as people who play. Music is work. So, I was paid well and given lots of respect. When I returned to the States, in 1996, people treated me better than before I took the step across the big pond. I determined that musicians must leave the comfort of their homeland in order to be appreciated at home.

Ten years later, I had completed a five-month tour of Asia, and people in Atlanta, who never thought of me as a professional before, seemed to take me more seriously. In China, I worked at two clubs, where I did not make as much money as I did in 1990. Musicians’ pay always reduces, while the cost of living rises. That is ridiculous. People think musicians do not pay bills. After all, they spend their lives playing instead of working like other people.

The truth is that musicians do the job that doctors and lawyers cannot do. In one hour, musicians heal hundreds, even thousands of people. The right song keeps a couple from divorcing or pushes them to see that they are not right for each other, saving thousands of dollars of legal deliberation.

Music permeates the planet, bringing joy to all who hear it. People enjoy a concert more than they do a hospital stay or sitting in law office. Yet, they will pay doctors and lawyers extortionate fees and squint, when they get a high quote for a band of four or five adults to perform at a wedding or office party, where they will be enjoying themselves because of the music!

I am befuddled at what people will pay for and what they want to get for free. Learning music is not free. You pay for lessons. You pay with your time to practice. You continue to learn more music. You must stay in front of the pack in order to be seen, heard, and appreciated. Producing music is not free. Studio time is extremely costly. Paying musicians to perform your music is expensive, even if they are your friends. Mixing and mastering music is expensive (up to $100 per song). Duplicating CDs, producing videos, and marketing music runs into the thousands. But getting paid for a gig can be the hardest part of a musician’s job.

Finally, unlike most professionals, there is little in the way of retirement or insurance funding for musicians, who do not belong to the Musician’s Union, which few musicians either can or will afford. Musicians give joy to others throughout their lives and, unless they have a hit song or record, they have very little income to fall back on in their old age. Most die destitute, leaving little inheritance for their spouse and offspring.

It is uncanny. What brings people the most pleasure, rarely sustains those who create it. But the beat goes on and, somehow, musicians find venues where they can keep the music

playing. (918 words)

References

 

McLuhan, M. (1964). The medium is the message. Understanding media: The extensions of man. Retrieved from http://web.mit.edu/allanmc/www/mcluhan.mediummessage.pdf

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Diva Joan Cartwright is an internationally-known vocalist, composer, and author of 11 books. She holds a BA in Music/Communications from LaSalle U, in Philadelphia, PA; an MA in Communications from FAU, in Boca Raton, FL; and is a doctoral candidate for a DBA in Business Marketing online at Northcentral University, in Prescott Valley, AZ. Since 1997, Joan has been the CEO of FYI Communications, Inc. and, since 2007, her non-profit, Women in Jazz South Florida, Inc. with 304 members promotes women musicians, globally. In 2016, WIJSF released its 6th CD of the music of women composers. Joan hosts an online radio show, MUSICWOMAN, featuring women composers at www.blogtalkradio.com/musicwoman. Joan’s personal CDs are Feelin’ Good (1995) and In Pursuit of a Melody (2005). She owns MJTV Network with her daughter Mimi Johnson and she is actor in the sitcoms Last Man and The Siblings produced at www.mjtvnetwork.info. In 2014, Joan was honored in Atlanta, GA, as the first Lady Jazz Master. In 2016, she was honored as one of the Top 25 Women of Color in Business and Leadership by Legacy Magazine. She has two children (Michael Serrano and Mimi Johnson), five grandchildren, and three great grandchildren. She is retired from music performance and resides in Sunrise, Florida. Currently, Joan is a professor of Speech Communications as Southeastern College in West Palm Beach, Florida.

 

Diva JC Online:

 

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

 

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