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To date, 96 women are listed in our Jazzwomen Directory
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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!
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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.
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.