Women Pioneers of Percussion in the United States by Dr
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Women Pioneers Of Percussion in the United States By Dr. Meghan Aube The following article by Meghan Aube was challenging for women who played tradition- ist, Hyams explained the difficulty of being a extracted from her dissertation, “Women in per- ally male instruments such as percussion, vibra- woman in the music profession: “In a sense, cussion: the emergence of women as professional phone, or drumset. This section will highlight you weren’t really looked upon as a musician, percussionists in the United States, 1930–present” the careers of the women who broke those bar- especially in clubs. There was more of an inter- (University of Iowa, 2011). Additionally, Aube riers. est in what you were going to wear or how presented her research findings regarding women your hair was fixed—they just wanted you to in the field of percussion as part of the scholarly pa- Marjorie Hyams—vibraphone look attractive, ultra-feminine, largely because per presentations at PASIC 2012 in Austin, Texas. East Coast vibraphonist Marjorie Hyams you were doing something they didn’t consider was very active in the 1940s but enjoyed a ca- feminine.”4 merican women have historically ac- reer of only ten years. Aside from vibraphone The dichotomy of needing to present femi- complished great feats in percussion, performance, she was also a talented pianist ninity while playing in a male domain was an but some of their contributions have and arranger. Hyams was discovered by jazz issue that many women faced in the mid-20th Abeen ill reported or, in several cases, clarinetist Woody Herman when he heard century and still experience today. The “look” of completely neglected. These pioneers certainly her perform in Atlantic City. Herman tried to a performer was deemed equally important as provide historical insights into the gradual ac- convince Hyams to start her own band, but she musical ability. As one of the first women vi- ceptance of females working in the percussion joined his group instead and played with him braphonists, Marjorie Hyams was a percussion field. Many of the American women percus- from 1944–45. pioneer, but unfortunately the career of this tal- sionists discussed in this article were previously In 1945, Hyams left the band to form an ented woman did not last long enough for her unknown to the author, just as they may also all-woman trio that performed for three years. to fully impact the percussion and jazz worlds. be unfamiliar to the readers. Connecting with With Mary Lou Williams on piano and June predecessors in a specific field is vital for un- Rotenberg on bass, the trio garnered many Pauline Braddy—drumset derstanding one’s own placement in that art accolades including a featured concert at Carn- Born in 1922, Pauline Braddy was one of the form. As the history of women has proven, it egie Hall in 1947.3 Hyams was thrust into the original members of the International Sweet- is not hyperbole to claim that the struggle for national spotlight when she joined George hearts of Rhythm, an all-female band formed women to gain acceptance and success in many Shearing’s combo in 1949. While perform- in 1937 at the Piney Woods Country Life fields including percussion has been somewhat ing in this group, she had many opportunities School.5 The school, founded in Mississippi in difficult. It is crucial that continued examina- including the recording of a major record. Yet 1909, was one of the first all African-American tion of these women’s lives be conducted before again her tenure with this group ended after boarding schools in the United States. The they, and the people who know them, are no only after a year when she quit the jazz world Sweethearts, a popular outlet for creative longer present. Women pioneer percussion- completely to become a housewife. expression at the school, became nationally re- ists in idioms of jazz, marimba performance, While pursuing her career as a vibraphon- nowned as they performed all over the country, orchestral playing, and academe are discussed including New York City, Chicago, and Wash- in this article. ington D.C. As a woman drumset player, Braddy admit- WOMEN IN JAZZ ted encountering prejudice. She regularly faced Women have always fought for their voice to skeptical audiences that exclaimed: “Oh no, not be heard in the male-dominated field of jazz, a girl!”6 In the 1940s and 1950s, Braddy found but the struggle was even more challenging in it difficult to discover other women drum- the 1940s when it was rare to find any women mers and instead turned to male role models in a jazz band. Jazz historian James Dickerson for guidance, including Ed Thigpen and Gene wrote, “Throughout jazz history there has Krupa. been a sexist bias against women.”1 Men have Braddy finally left the Sweethearts of been active longer in the field of jazz, thus the Rhythm in 1955 at the age of thirty-three. majority of scholarship has been completed on She performed with numerous jazz ensembles male musicians while females remain relatively until the late 1960s when she stopped drum- ignored. ming completely. Her next performance was as Today, women are more present in the jazz a guest at the 1980 Women’s Jazz Festival in world; although in 2007, women comprised Kansas City, Missouri, a superb honor that was only 15.6 percent of union jazz members.2 very meaningful to her. Braddy died in 1996. Numerous difficulties arose for women enter- Breaking ground for future women drummers, ing the jazz profession, yet there were several Pauline Braddy had a very accomplished career, important pioneers that paved the way. Ac- yet regrettably she has remained relatively un- ceptance into the jazz world was even more Marjorie Hyams known in the percussion and jazz fields. percussive notes 38 JAnuArY 2013 ion, nor did respect from her colleagues. Upon Terri Lyne Carrington—drumset moving to New York in 1959, the realities of Beginning a career just as Dottie Dodgion maintaining success in a career heavily domi- was ending one, Terri Lyne Carrington was nated by men began to arise. Dodgion remem- proclaimed a child drumset prodigy. Born in bered the frustration of losing gigs based solely 1965 in Medford, Massachusetts, Carrington on gender. “I was at least accepted by the guys, began playing the drums at the age of five. She even though they didn’t hire me for those jobs; explained that Sonny Carrington, her father many a time a drummer who couldn’t swing and a jazz musician, was delighted when he half as well as I could would be hired. Those found “I had a natural talent. I could keep time kinds of things used to hurt.”11 immediately, so my father thought I had tal- Fortunately, the disappointment of gender- ent. He showed me a few things. I progressed stereotyping did not hinder her career. The in- and he sent me to a teacher.”18 Her drumset, pauline Braddy justice of judgment based on gender made her the only instrument in a house full of musi- work even harder to achieve success: “You had cal instruments that could hold her attention, Dottie Dodgion—drumset to be better than better,” she said. “All instru- originally belonged to her grandfather, who One of the most successful, although un- ments are male-dominated. The way it’s looked had been a jazz drummer. Carrington’s father known, drummers, Dottie Dodgion was born at, the drums are—pardon the expression—the was the main motivation for her desired career in Brea, California, in 1929. Dodgion originally balls of the band. When a guy turns and sees in jazz. “I couldn’t help but be inspired to play began her musical career as a vocalist. While a lady sitting there, it threatens his manhood jazz, because my father was always playing it.”19 her drummer father was not opposed to her some way.”12 Success came rapidly for Carrington. At the becoming a drummer, he never taught her a To combat this feeling of sexism, Dodgion age of ten, she played for Buddy Rich. At lesson. Her drumming career began by play- would often wear clothing that was not femi- eleven, she was the youngest student to get a ing rhythms on magazine covers during her nine and keep her hair short in order to blend scholarship at the Berklee College of Music husband’s recording studio sessions. Due to in with men. Dodgion became accustomed to in Boston. At twelve, Carrington was the the tardiness of some drummers, she found holding the position as the sole female in the youngest musician to ever endorse Slingerland an opportunity to play. Dodgion remembered, band. She preferred performing with men due Drums and Zildjian Cymbals. Achievement “They’d say, ‘Come on Dottie, play some “time” to her belief that many women who entered has followed Carrington her entire career thus till the drummer gets here.’ Male drummers the music business were not serious. Often far. Her album Real Life Story was nominated were always late!”7 gender was used by promoters as a device to for a Grammy in the category of best fusion Her first husband, bassist Marty Budwig, sell records and gain audiences, and she found jazz. While she is still principally a drumset did not support her as a drummer; he felt that that as she aged gigs became even scarcer: artist, Carrington also writes and arranges. drumming was “unladylike.”8 In contrast, her “There is no gimmick for selling an old lady. If Jack DeJohnette is the drummer she emu- second husband, Jerry Dodgion, encouraged you’re a young woman and have a decent figure, lates and considers a mentor.