Jazz Notes: Local women in jazz

Heather Ramsey

Women have always played a

major role in the jazz world — and not only as singers with the band.

Take Lil Armstrong, who worked on the early recordings of her once-husband

Louis Armstrong and later fronted her own group. Or local musicians such as

pianist and vocalist Flo Garvin and the Hampton Sisters (pianist Aletra,

bassist Virtue, Carmalita and Dawn), who played into their eighties.

Recently, the Smithsonian

Institution announced that, in its tenth year, "Jazz Appreciation Month" will

be officially designated as "Women in Jazz Month." This year's JAM poster will

feature a likeness of pianist and composer Mary Lou Williams by artist Keith

Henry Brown.

Now that women jazz artists

are getting national recognition for their contribution to jazz, I wanted to

check in with local female musicians about their lot in life. I talked with

three jazz musicians, each of them representing a different generation of jazz

performers, all of them members of the group Women in Jazz.

Jazz and swing violinist

Carolyn Dutton worked for 30 years in New York as a professional musician. Her

specialty is gypsy jazz. I asked her if the status of women jazz performers has

changed since the twentieth century.

"I think more and more women

are less intimidated by the genre," Dutton said. "I think more and more

audiences are interested in hearing women play. I still think there is a

prejudice that exists and women are just going to have to accept that. Women

have to prove themselves harder than men and prove that we are very good."

Jazz clarinetist, bandleader

and University of Indianapolis grad Shawn Goodman has been playing jazz locally

for a decade. I asked her if she faces unique challengers because of her

gender, particularly in her role as an instrumentalist and bandleader. She was

very frank in her reply.

"I have difficulties because

people look at me and think because I am a girl that I may not be as good a

musician as some of the well-known guys in town," Goodman explained. "I feel

like maybe I have to put in a little extra effort, more so than the guys. I

think when people call somebody for a gig, they don't think of a girl. It's a

mindset thing that has to be changed."

Goodman observes that there

are more female instrumentalists on the scene.

"There were some gigs I

played with a big band where every saxophone player was female. It's not that

often you see a whole female sax line, but I am running into that more and

more."

Heather Ramsey is a vocalist,

music educator and the co-founder, with pianist Monika Herzig, of Isis, an

organization for female musicians from Indiana. I asked Ramsey, who fronts jazz

and pop groups, how the stereotype of the female vocalist has changed over

time.

"There is still a large

segment of women who relegate themselves to being the girl singer or the front

girl," she explained."I would say

there has been

improvement, but not because

the industry is quite ready for it to be there yet. I think the women are

trying to push it, but I am not sure they will still fight against it."

When asked if she thought

Isis could help to make a difference in the lives of women in music, her answer

was concise.

"Vocalists tend to be noticed

but maybe not respected as much. Instrumentalists tend not to be noticed but

are respected. We are trying to bring those two things together in kind of

collaborative atmosphere of mutual respect."

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