• Home
  • About
    • Jazz Beyond Jazz
    • Howard Mandel
    • Contact
  • AJBlogs
  • ArtsJournal

Jazz Beyond Jazz

Howard Mandel's Urban Improvisation

She plays like a girl? That’s hot — and cool!

Women are making future jazz history — despite seldom showing up in top high school band competitions. My new column in City Arts – New York’s Review of Culture, has local names and immediate dates; jazz gender parity is a slow movement but my bet is it’s irreversible.


Having heard Cassandra Wilson last night at the Blue Note perform in control and thrilling with her band — as Betty Carter used to do — I’m tempted to think singers are still the point people persuading listeners that females swing hard and improvise brilliantly. But from Geri Allen to Jamie Baum to Cindy Blackman to Carla Bley to Jane Ira Bloom to JoAnn Brackeen to Sylvie Courvoisier to Marilyn Crispell to Connie Crothers to Claire Daly to Amina Figarova to Mary Halvorson (and Jessica Pavone) to Ingrid Jensen to Virginia Mayhew to Myra Melford to Allison Miller to Nicole Mitchell to Amina Claudine Myers to Linda Oh to Tineke Postma to Matana Roberts to Angelica Sanchez to Irene Schweizer to Jenny Scheinman to Sara Schoenbeck to way more than these springing immediately to mind, there are enough highly evolved, deeply creative bandleading pianists, drummers, guitarists, trumpeters, saxophonists, bassists– did everyone see that New Yorker profile of Esperanza Spalding? — to encourage young people that instrumental prowess is not a strictly male prerogative, and nor should anyone want it to be. (I’m pushing this less as a sensitive guy than because I assume all humans are musical to some degree, and I want to hear the best, not only the best men).

Disturbingly, a few weeks back I attended an address by Wynton Marsalis to a couple of classes of high school music students after a strong “Basie and the Blues” concert by the Jazz at Lincoln Center Orchestra. Asked by one girl in the crowd if there were ever women playing in that world-famous ensemble, Wynton mentioned that Erica von Kleist subs for Ted Nash, and that there have been women joining the band for specific gigs, but that there are so few job openings that blind auditions to fill them are not viable, and that such virtuosic mastery of the breadth of jazz’s historical styles is necessary that current JALCO members know every musician in the U.S. who could fill the bill anyway. “This is strictly a meritocracy,” Wynton explained. That being so, I bet there’s more than one woman right now sharpening her skills so as to storm that citadel, and predict that within 18 months (why should it take so long? Little attrition?) the band bus will be co-ed.
Darcy James Argue’s Secret Society is already so integrated, as is Taylor Ho Bynum and Abraham Gomez-Delgado’s Positive Catastrophe and of course Maria Schneider’s orchestra.
I’ll try to keep track of personnel in other big bands — Mingus Big Band? Jon Faddis Jazz Orchestra? Vanguard Jazz Orchestra? the Clayton-Hamilton Jazz Orchestra? Charles Tolliver Big Band? Fat Cat Big Band (yes), Gerald Wilson Orchestra (yes), Orbert Davis’ Chicago Jazz Philharmonic (yes, yes) — though should this really be necessary? (No.)
A recent email from Mary Jo Papich, president of the Jazz Education Network (which is positioning itself as the successor to the International Association for Jazz Education) presented her thoughts about the current disparity thusly:

It is a major concern of mine and we have a session on it
at the upcoming JEN conf in St. Louis.  WHY does it exist?  I believe
it starts way back to the day when a young girl picks up an instrument and is
not encouraged (in general) to play trumpet, trombone, drums, bass….jazz
instruments.  Notice the girls are almost always on piano and sax.

Then you add to the fact that the women students mostly
have male band directors as they go into HS where active jazz programs are . . .

I thought that just being a good example of an active
female jazz band director would be enough . . . but it hasn’t been. The odds
still are not that good. One thing for certain, we must encourage, nurture, empower young women with the confidence they need to succeed in jazz
performance. I spoke last weekend to the only girl in the National Honors
Jazz Band of America in Indy [Indiana] and I asked her what it
was like….she said, “I am not used to being the only girl playing in a
jazz band so I was shocked that I was. Yes, I was intimidated at
first…but after getting to know them and playing with them, I am one of them. It’s all cool now.”

If it’s not all cool yet where you are, what can be done to make it so? Responses (as always) welcome. Remember The International Sweethearts of Rhythm.

howardmandel.com
Subscribe by Email or RSS
All JBJ posts

Share this:

  • Click to email a link to a friend (Opens in new window) Email
  • Click to share on Facebook (Opens in new window) Facebook
  • Click to share on X (Opens in new window) X
  • Click to print (Opens in new window) Print

Related

Howard Mandel

I'm a Chicago-born (and after 32 years in NYC, recently repatriated) writer, editor, author, arts reporter for National Public Radio, consultant and nascent videographer -- a veteran freelance journalist working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere, consulting on media, publishing and jazz-related issues. I'm president of the Jazz Journalists Association, a non-profit membership organization devoted to using all media to disseminate news and views about all kinds of jazz.
My books are Future Jazz (Oxford U Press, 1999) and Miles Ornette Cecil - Jazz Beyond Jazz (Routledge, 2008). I was general editor of the Illustrated Encyclopedia of Jazz and Blues (Flame Tree 2005/Billboard Books 2006). Of course I'm working on something new. . . Read More…

@JazzMandel

Tweets by @jazzbeyondjazz

More Me

I'll be speaking:

JBJ Essentials

Archives

Return to top of page

an ArtsJournal blog

This blog published under a Creative Commons license