letter if of the INTERNATIONAL WOMEN?S BRASS CONFERENCE

Volume 2, Numberl February, 1995

Dear Members: ines, Jane Sager. You will also find a poetic eulogy for Ms. Davis. new Behavior Survey concerning your Suggestions, comments and In this sixth issue of the WBC personal experiences with colleagues. I criticisms are always welcome. Please Newsletter you will find yet another hope you will take the time to respond to send any letters to the editor to 1137 wonderful article by Sherrie Tucker, this very important questionnaire. Richmond St., Pittsburgh, PA 152!8- author of the piece on Barbara Butler It is with great regrét that I must 1014. which appeared in our last Newsletter. inform you of the recent passing away This time Ms. Tucker has interviewed of thejazz trumpet pioneer, Tiny Davis. one ofourpioneeringjazz trumpet hero- Clora Bryant has kindly submitted a Rebecca Bower, Editor

Letter from the President

Dear Friends: Scholarships: The Conference is our primary Ithas been quite a long time since For the last two years in St. Louis, goal. August 1997 will be here before I have communicated with you. Com- Thave organized a fund-raising concert we know it! I can hardly wait!. I have pared to all of the activity at our first for the IWBC Scholarship Fund, called received, and am still receiving, letters brass conference, there has been very the "Holiday Brass Concert". Presently frompeople who attended the 1.993 con- little to report. The Board of Directors we have raised $10,000 in scholarship ference, who wanted to share what the has met to start planning for the next money from our 1993 and 1994 Holiday conference did for their confidence, brass conference. The board voted to Brass Concerts. This is a good start morale, self-image, performance skills, have the next conference in four years, toward our goal of $25,000 for scholar- etc, .. Let's do it again!!! The cost of the so mark your calendars now ? AU- ships by August 1997. last conference was over $50,000. We GUST 1997. Thatis overtwo years from had lots of help from individual donors, now ? but NOW is the time to start Recordings: corporate sponsors, the Kerr and Gen- raising the money for the next confer- Another project in our long range eral American foundations, Washington ence, as well as trying to implement plan is to produce a CD which would be University, etc.. Due to rising costs, we some of the other goals outlined in our available at our nextconference. As you will probably need more like $60,000 for ten year long range plan. perhaps know, producing a CD of a the 1997 conference. Sorry I cannot tell brass ensemble would cost a great deal, you where the conference will be held Newsletter: approximately $15,000. We feel, and yet, but I do know we will have one, and Thanks to the continued contribu- hope you agree, that it is important to need to begin to raise the money now. a tions ofmany ofyou, we have been able leave an oral as well as a written legacy. So, if you can help us at all with to continue sending our newsletter to So little history is available from contribution, small or large, please do so today. everyone on our mailing list, whether ourpast? we haveno control over that. and hear- they are members or not. I want to give However, we can control our future. Thanks, Hook forward to avery special thanks to Rebecca Bower, Ultimately, we would like to produce at ing from you soon, and seeing you in 1997, Editor, for donating hundreds of hours least two CD's, one featuring outstand- to IWBC in preparing and organizing ing women soloists, and one CD of a the newsletter since its beginning! large brass ensemble. Susan Slaughter, President JANE SAGER by Sherrie Tucker

as As disappointed I was when the road with . She was Isaid, damn, nobody?s going to do any- poor health prevented trumpet pio- a key organizer of Ada Leonard?s fa- thing.? And he took his cornet and he neer Jane SagerfromattendingtheWBC mous orchestra. In fact, in a phone played it with one hand and he became was a of 1993, I ever in for thrill when interviewwiththe glamorous bandleader, famous, you know, a vaudevillian.? another jazz trumpet pioneer, Clora Leonard said, point-blank, ?I couldn?t As she describes it, as soon as Bryant (whose dynamic attendance at have done it without Janie.? she arrived at the Miller house for her the IWBC will be remembered by all Sager led us into her studio, big first rehearsal, Sager was taken aside who were there), treated me to an after- where she immediately began pulling by each member ofthe Miller family for Sager?s in noon at trumpet studio Holly- out photographs and newspaper clip- adrink. Gin, vermouth, whiskey... ?So wood in June, 1994. Sager is a well- pings. As soon as Bryant and I were by the timeI sitdown?it?s a good thing known teacher among jazz and studio greeted and seated on either side of her, I had an ear because I couldn't see the players in the area (Herb she regaled us with an amazing tale of music! And I do know that the first tune is one Alpert just of herfamous alumni). her first job right out of school. This was called ?The Continental." Remem- This writer was in jazz trumpet pioneer story, as hilarious as it is, can also be ber the old days of Astaire and Ginger Valhalla! seen asa gendered history ofvaudeville, Rogers?? When we pulled up Bryant remembers it to herstudio on a major Hol- alright, and so do I after she lywood intersection, the en- ?He Cohnny Rivers) followed sings a few bars. ergeticeighty-year-oldtrum- Sager nods and contin- pet guru was already stand- ues, ?Weill. thank God, of ing outside, wavingherarms. me around waiting for me to course I knew that song. Tt wasjust great to see Sager I?d Lookingout the comer of my standing there looking so menstruate to see if fall over! eye?? (she squints, recreat- well. For Bryant, Sager is a Yeah, yeah, this is the truth!? ing the scene) ??"key ofBb. cherished friend who can And we started: dah ba-da cheer her up. For me, Sager, dah, da-dah... youknow, and like Bryant, is a legend. I'm going fine, and the old Jane Sager is the adding sobering insights into ourknowl- lady says, ?Goddarnit, blurpp.? Burped trumpet toting teenagerfrom Green Bay, edge ofwhat kinds of experiences might like this. She said, ?Goddamnmit, I like so Wisconsin, who had played many be in store for a woman who went on the the brass!? And I?msittingthere dying. ballrooms by the time she was fifteen road with her trumpet in 1935. Meanwhile, you can?t blow a horn and that she was able to buy herself a Ford ?T was kind of a dumb Wiscon- laugh. And I?m ready to die laughing. convertible in the middle of the Depres- sin farmer, for God?s sake,? she begins So that?s my introduction. I made the sion. She is the college student who in her animated and inimitable way. ?I rehearsal. So we go to our firstjob. This supported her classical violin education mean I?m in Chicago, I'm looking at the is my first thing, really, you know. by playingjazz trumpet atnight until she elevateds, and the whole thing is going mean, thirty dollars for three days, that got wise and said, ?I've got something like that in my mind. So, Ren?? (her was big money. different with this hom!? She is the friend, Reynold Schilke, who was re- ?So they pick meup. I?m sitting country kid who came to Chicago to sponsiblefor getting herthe opportunity under some kind of a bridge port with study withlegendary Edward Llewellyn to study with Llewellyn) ??called me my trumpet and my stuff and the car of the Chicago Symphony, and who, up and says there?s a wonderful comet comes on and picksme up andI get in the during the same time, was sitting in with player named Al Miller. He had one car and the girl sitting next to me says, equally legendary Roy ?Little Jazz? arm. He cut his armoff asakid. And he ?Look out. You're sitting next to Al and Eldridge at the Three Deuces. She made laid in bed and all the relatives are sitting you?re a new girl. Have you got a tin it from vaudeville to the studios, played there and they said, ?What are we going brassiere on?? Well, that meant, he?s in both women?s and men's jazz and to do with poor Al now he?s lost his gonna...? Her voice trails, knowingly. swing bands, was once invited to go on arm?? And Alsaid, ?Ilaid in thatbed and ?And he?s got one arm! And that arm

2 a rr rr re

could drive a car and go...? She makes ?The storycontinues,with Miller reach it. You play it and people won?t grabbing motions with her hand. ?I commanding her to ?Follow my valves? know the difference.? So one show, fended him off for miles...? as the band launches into a Barnum and something, Idon?t know, something was ?How'd he do that?? asks Bailey barnstormer for which they have biting me, so I reached down like this a Bryant, reasonable question. no sheet music, takes us through a lunch and by the time I get up it?s too late and ?Well, you know, he?d shift break in the bus where Miller?s wife she?s going like this? (she opens her gears.? To illustrate, Sagerpantomimes prepares meat loaf sandwiches made mouth wide) ?and no note, I didn?t get shifting gears and my hom.? making passes at ?No, no, the sametime with no...? cries Bryant. the samearm. De- ?TY thought I spite the fact that was going to get sexual harassment fired. So then I hit is no laughing thething late. They matter, this scene, didn't fire me, I as acted out by don?t know how. Sager, is down- Finally, the finale right comical of the show, she fifty-nine years af- was to goaround in ter the fact. abigcircle withthe ?That?s what he?d Americanflags fly- do. You know, all ing. Oh, the com overtheplace, like from Jowa and ev- he?s swimming. erywhereelse. And ?So any- thisis goingon,and way, to make a she?s drunk, and long story short, she kicks her shoes we get into La- off right on stage. crosse, Wiscon- The show?s going sin... and I didn?t on. People are know that we?d dumb, watching play out in the the show. Shekicks open for a fair. her shoes off and You're supposed she?s going around to have those in the circle with clothespinstohold the trombone, your damn music. round and round. And I?m doing Allof a sudden the this, youknow...?, slide goes out, way (another panto- Clora Bryant (1) and Jane Sager (r) outintheaudience, mime?here she Tm telling you, I acts out grabbing nearly died.? her music in the air while she?s playing from Red Heart dog food, and culmi- ?Did youlay onthe floor?? laughs it), ?...and all of a sudden, a bunch of hates in a part of the act where the star Bryant. Sager?s story and performance pigs?Imeanpigs! Sows!?comeacross trombonist ofthis all-female (except for has us practically on thefloor from laugh- the stage. It?s thecountyfair. A pig act! leader Al Miller) band has to sing a ter, ourselves, That's my first act I had to play. For a number out of her range. ?She'd get ?I dideverything. I?ll never forget. bunch ofpigs!? Bryant and I howl with drunk, they were all drunk,? said Sager, One-ArmedMillerand theMillerShow. In laughter. ?Now this is the truth. I ?and she says, ?Now whenI get to this allofmydays,nooneevergotintoanything, couldn?t make this up. No human being note, it?s ahigh C foryou, for God sakes likethatany worse, Pm sure.? could make up this!? hit it, because with my voice I can?t Sager loves to tell a story, and

. 3 she?s got a million of them, most from ahead. When you get on there, you?re get that crazy propaganda?? He fol- more professional outfits than the Miller gonna show ?em.? That?s the kind of lowed me aroundwaiting forme to men- Show. She played with many of the top person she was. She?d give me such struate to seeifI'dfall over! Yeah, yeah, white all-femalebands ofthe thirties and inspiration. So, about a quarter of one, thisis the truth now.? The foolishness of forties, including those led by Rita Rio, they put me on, after all these men, you this remark was no surprise to Bryant. Ada Leonard and Ina Ray Hutton, as know, I go up there. And I was mad. I No doubt there are some other women well as the International Sweethearts of got Irish mad. Flaming. And I went up brass players out there who have heard Rhythm, an African American all-fe- there and the first thing he threw at me similar comments. male band which also hired some white was a lead trumpet part that started on a Sager tells several interesting members as did several other Black all- high C#. Ba-da-ba-da-BEEEE! You stories about her tours on USO with Ada woman bands ofthe day. ?Besttwo weeks know, that kindofstuff. I just cut it like Leonard?s orchestra during World War ofmylife,?saysSagerabout workingwith mustard, you know. Justnothing. Then, Two. One that struck me as particularly the Sweethearts at the Alabam in Los at the end, he said, ?Let's pick the old poignant, involves a solo trumpet spot Angeles. She also worked fora number of chestnut that shows what everybody can where Sager would come to the front of malebandleaders,including Charlie Bamet do, ?Body and Sout.? I said, ?Great.? So the stage and take a request from the and Johnny Rivers. Pete Rugulo, incidentally, was our audience. One night, a young voice Recently, Sager?s life has been player. We had men like that in our called out the name of the Harry Barris hit with tremendous loss, the passing of band. AndMary counted eight choruses melody, ?I Surrender, Dear.? She couldn't see the soldier because of the carbonspotlights, butthe requestcaught her ear. ?Well, you know, that wasn?t called out too much among those guys, ?{ don?t give a damn, [ just play... they always wanted pretty corny stuff. So I said, ?Sure, I'll play it.? So 'm { sit back and { put my feet up on the playing this solo, and I?m feeling it in my heart and soul and, oh, just really table and it saved my life.? enjoying doing something I like. And I hear a lot of commotion down there. And I couldn?t see, as J say, but stuff?s going on like mad.? her dear friend Mary Sawyer, a dancer he made me stand there trying to wear When the show was over, Sager she had known since her USO (United me down. And at the end, he looked at went down to the area where the young Services Organization)days in the 1940s his watch. He says, ?We?ve got to quit.? man had been sitting, and where now a and who had helped organize the trum- And I went up and I made like a cadenza group of officers stood. She demanded pet studio. Sager?s story of auditioning end run thing and went up and hitan Eb.? to know what happened. ?One says, forJohnny Rivers? band illustrates what He says, ?You've got the job.? And ?Can you take it?? I said, ?I don?t know women brass players were up against that?s the first time a woman had ever, what you mean.? He says, ?Come here.? when they dared to try out for male you know, really, gone out there and SoI did and it was that thick with blood. bands, as well as showing how impor- taken a job like that. It was September All over the seat, my God. So, to make tant Sawyer?s support was to her in her 1942.? a long story short, they saved the kid?s career. As much as she admired Rivers? life. He had cut his wrists. That was his ?Well, I never dreamed that I musicianship, and enjoyed playing in favorite song and he didn?t want to goa was going to get achance to audition for his band, the sexism didn?t stop at that bullet way. He wanted to die that way. the trumpet chair,? says Sager, after ex- first audition. ?He would follow me Well, they let me go to the infirmary the plaining that Rivers? band was the most around, you know. And he kept waiting next morning and I saw him with his exciting thing she had heard after mov- for me to get tired. He said, ?Aren?t you arms bandaged and I hugged him and 1 ing to L.A. in the 1940s. ?Butthey made tired?? Isaid, ?AmI supposedtobe?? He said, ?Look, that?s the wrong way to go.? me wait.? Her voice drops, ?My friend said, ?Well, | understand that girls men- T said, ?You may never get a bullet. I [Sawyer] stood there and she got a shot struate andthenthey don?tplay sogood!? could get one before you, walking forme and said, ?Now you drinkthisand I said, ?Ahhh.? I say, ?I play twice as around, who knows?? He said, ?Oh, you sit here all nightand let thosemen go good when that happens. Wheredid you {Continued on Page 7) Directory Update - March 1995

Karen Baccaro (Trumpet) Elizabeth Fairlie Judge (Horn) Linda M. Presgrave (Horn) 2603 Hillegass 1976 112th Ave 8056 Venetian Dr. Apt. 8 Berkeley, CA 94704 Otsego, MI 49078 St. Louis, MO 63105 510/834-9403 (H) 616/694-9669 (H) 314/863-1503 (H) Washington University Margaret Brouwer (Composer) julie Landsman {Horn} Box 20580, Park West Station 180 Tweed Blvd. Veronica Ricks (Horn) New York, NY 10025-1521 Nyack, NY 10960 618% Bowery St. 212/663-5941 (FAX) 914/365-6633 (H) lowa City, A 52240 Composer 212/501/7909 (W) 319/358-8386 (H) Co-Principal Horn Metropolitan Heather Buchman {Trombone} Opera Orchestra Jean M. Rife (Horn) 2616 Polk Ave, 45 Kilgore Ave, San Diego, CA 92104 Amy J. McBeth (Horn) Medford, MA 02155 619/692-3545 (home & FAX) (H} 614 Ist St. W. #17 617/483-3304 (H) Principal Trombone San Diego Northfield, MN 55057 Principal Horn-Boston Baroque, Symphony Orchestra 507/645-7195 (H} Univ. of New Hampshire, M.1T. 507/645-6353 (W) Deanna J. Ford (Trumpet) Instructor-Saint Olaf College Sra. Kim A. Rodriguez {Horn} P.O. Box 288 General Delivery Gabriola Island, BC VOR 1X0 Dawn McLean {Bass Trombone) 500B St. CANADA 508 Wilson Cres. Keesler AFB, MS 39534-2264 604/247-8894 (H) Saskatoon, SASK $7) 2M1 CANADA Susan E. Scarr (Trombone) Betty S. Glover (Trombone) 306/668-7272 (H) 419 Merrydale Dr. Chemin St. Estéve 306/931-8092 (W) Marietta, GA 30064 Ménerbes 84560 404/427-3650 (H) FRANCE Carolyn O'Keefe (Trumpet) 404/429-3180 (W) 011 (33) 90/72-37-89 (H} 1825 Purdue Ave. #3 Cincinnati Symphony/Cincinnati Los Angeles, CA 90025 Leona May Smith {Trumpet) Conservatory of Music Adj. Professor 310/444-9174 (H) 128 Court St. Apt. A-14 Plymouth, MA 02360 © Nancy Goodearl (Horn) Lisa Ormenysey 508/746-7816 (H) 4643 Spruce St. AAB (M) Bellaire, TX 77401 Albert Road Dr. Vicky Smolik (Trumpet) 713/668-9145 (H) South Melbourne, VIC 2213 Whispering Woods Symphony Orchestra AUSTRALIA Belleville, IL_ 62223-7014 618/277-4634 (H) Delores Haber Laurie Orr (Horn) 17161 Sandra Lee St. Music Coordinator Cat Spece Hunt. Beach, CA 92649 Sam Ash Music Stores 5837 20th Ave. 714/846-7444 (H) 163 W. 48th St. Sacramento, CA 95820-3107 New York, NY 10036 Carol L, Jaeger (Trombone) 800/867-7755 or 212/719/4974 (W) Sharon Zurflieh {Horn} 4508 Shenandoah Ave. #1-W 212/354-6922 (FAX) 7180 High Ridge Rd. St, Louis, MO 63110 Lantana, FL 33462 314/771-5244 (H} Carole Jeanne Paul (Trombone) Compton Heights Band 584 Spadina Ave. Toronto, ONT MSS 2H2 CANADA 416/964-5790 (H} Free Lance Performer/Teacher/Composer

Copies of the Directory are available for $5.00 from IWBC. See membership form to order. ?? oT a

$250 ? $999 Jilaine A. Rosenthal Denisek DeMoulin James McGrath Rebecca Bower Jon P. & Charlotte E, Slaughter Linda Dempf Dawn McLean Barbara Butter David S, Takach Mary Dunn Jeffrey E, Neville Jan Z Duga Kathleen F. Witmer Joan C. Fann New York Brass Conference for Laurie A. Frink Kathleen Vaught Farner Scholarships Roger Oyster Up to $99 Susan A. Fleet Carole Jeanne Paul Susan Slaughter Sara Albert Lila Gailing Leigh Pilzer Mr. & Mrs, Philip Slaughter Martha |. Awkerman Ramona Galey Larry Ragent Dy, Patricia Backhaus Judith A, Goedeker Jean M. Rife $100 ? $249 Joan R. Beeler Roy Griffins Susan E. Scarr Monique Buzzarte Heather R. Buchman jean Shirley Grossman James R. & Barbara J. Scheer Gary A. & Shyrley Bynum Smith Mary A, Burroughs Myra Ann Hosack Nancy Schick Katherine E. Canfield Lydia Lowery Busler Barbara Hull Lauren Schiff Jerry Cerchia, jr. Janell Carter Frances Kass Stuart N. Senniger Glenda Cloutier Trudy Cavallo Lora E. Katz Alison Shaiman Abbie Conant Glenda Cloutier Norma L, Lain Lorry Sharp Joyce Davis Stephanie Cox * Linda Lou Landis Faye-Ellen Silverman Donna }. Dorn Mary Ann Craig Diane Lefeaux Mary Jo Sparrow Betty S. Glover Robert Curfender Charlotte Leonard Ed Stevens Carole R. Klein Jennifer Curran Gloria A. Luitjens Rachel Thomas Dewi Minden Helene Dauerty Amy J. McBeth Peter Piacquadio

?Carole Dawn Reinhart Aspects of a Career?

a biography by Elena Ostleitner and Ursula Simek

This unusual book about the inter- The text is greatly enhanced by many photos nationally renowned trumpeter not only and a CD with several of Reinhart?s solo delves into her life, but also investigates it performances. from a sociological viewpoint. Especially interesting is the combined use of Carole Dawn Reinhart has generously offered autobiographical statements from the artist all profits from the sales of her book through and biographical research from the authors. the IWBC to be donated to the IWBC treasury.

Copies of Carole Dawn Reinhart?s book and CD are available for $25.00 from the IWBC. See Order Form on page 12 {Sager - Frotn Page 4) thank you.? I said, ?Now you have A Poetic Jazzy Meaning of somebody write for you and you write your mother and you just tell her, you ?Tiny? Ernestine Davis know, this is all crap.? This is a sober- ing anecdote to counteract the innocent, by Clora Bryant upbeat images from war-time cinema of USO entertainers and their audiences. is for Trumpet, that is the better than the word Sager has recounted many horn Ernestine?Tiny? Davis ?obese?. more stories that I wish I had room to blew, is for the Improvisations sharewith youhere. After we have looked is for the Ilustrious career Davis played in her solos through Sager?s collection of memora- Tiny had and the innumer- while performing her life- bilia, we are given a tour of what she able musicians she knew.? calls the ?torture room,? where her stu- Jong vocation. is for the Need Tiny felt to dents receive their instruction. Bryant is forthe Necessity Tiny had excel at the many swinging and I are then invited upstairs to Sager?s for performing on stage to © house fora drink ofcranberry juice. As jam sessions. earn the audience?s appre- we relax, she reiterates something she isfor the Years Davis played ciation. had told me earlier on the phone, which her horn and left her deep is for Extroverted, the one is that she is playing again, that she is, in impressions. word that sumsup Ms. Davis fact, experiencing a creative renaissance in a nutshell because with in her entire approach to music. As she is for the Energy Tiny had, her group the Hell Divers, puts it, her ?teaching chops? are now, of this there was never any Tiny was entertaining, ex- once again,being joined by her?playing doubt. citing and boisterousas hell! chops.? is for the Rhythm Davis felt ?After Mary was buried,? she deep inside and it wouldjust is fortheDetermination that tells us, ?I got to thinking, ?what am I come pouring out. kept Tinyactive through her going to do?? She was my right hand. is for the Nerve that Tiny long swinging career. She knew all my weaknesses, all the had tocompete with themen is for the Animated perfor- rotten stuff about me and still said, inher singing and trumpet mances she gave on hertrum- ?You're okay.? Now that?sa friend. So playing. Jlooked atthattrumpet andI said, ?Baby, pet year after year afteryear. is for the Emotion and Ex- is for the Venturesome per- comeback tome.? AndIpicked itup and ceptional Eagerness she started playing and I don?t give a damn sonality Davis portrayed if nobody ever hears me again. I?m not displayed at every perfor- each and every day. , playing for anybody else. Idon?t give a mance which goes without is for Idel, and Louis damn, I just play. I play whatI feel. Isit saying. Armstrong was the one Tiny back and! put my feetupon the table and is for Strong and Sensa- emulated whenever she hap- it saved my life.? tional, two words that de- pened to play. Yet, as we sit talking, Sager scribe Tiny Davis, the is for the Sweethearts of breaks out hertrumpet. Ceremoniously, ?trumpetiste?. Rhythm, the female group she tells Bryant how much she respects is for Tiny, the name Anna Tiny played with for over her, how she hasn?t played for a soul for Mae Winburn felt fit Davis nine years. Boy, what fun! a very long time, but how she wants to play now, for her. It is a beautiful moment: Sager's lyrical interpretation Now is the time to raise your glasses up high and of a ballad as Bryant closes her eyes and cheer Ernestine ?Tiny? Davis somewhere up there in the listens with deep appreciation as atruam- pet pioneer, colleague and friend. We sky because herjam sessions with Gabriel have onlyjust applaud, and the two trumpet pioneers begun. embrace while I snap their photo. Investigational (WBC Behavior Survey Study

Becauseofthe storieswe'vebeen and identify the extent of these prob- hearing from around the country and lems. Because of our isolation from The Playing of Wind some of our own very negative expe- each other (as female brass players) Instruments During Tiences working with our colleagues, there is no easily accessible forum to Pregnancy the IWBC has decided to conduct an informally discuss these issues international survey. The stories amongst ourselves. After gathering GOAL: To compilea record of we've been hearing range from ob- this information and carefully analyz- subjective experiences ofwindmusi- scene words written on music to bra ing it, we can considerjoint efforts to cians while pregnant and experiences snapping to denigrating jokes about addressthe problems and provide sup- ofphysicians caring for pregnant mu- women or minorities to pressures of port for one another. sicians. This collection shall be shared demotion or dismissal to men expos- If you are interested in learning with musicians and physicians insuch ing themselves. If you have experi- more about our survey, or would like a way as to benefit both professions. encedanything similar, fromthe seem- to share your experiences, please ei- ingly trivial to the outrageous, we ther write orfax. All responses willbe PARTICIPANTS: Any wind would like to hear from you. Your seen by the President and Editor only instrumentalist who has been preg- contact with us will be kept strictly and every effort and precaution will nant, anticipates pregnancy, or may confidential and your experience re- be taken to protect your privacy, have a general interest in the devel- corded anonymously. anonymity and safety. opmental physiology of pregnancy Wefeel that gathering this infor- IWBC Survey and wind instrument performance. mation in this way is essential. Only 540 S. Geyer Road through this process can we document St. Louis, Missouri 63122 Itisourhopethat this study will enrich all women's lives by contrib- uting a body of knowledge that has received little attention and by con- "Miriam": Midwest Tour Itinerary 1995 tributing to the advancement of Performed by Abbie Conant women's health. Anyone wishing to participate please contact us,

... University of Minnesota...... Minneapolis, MN? Confidentiality is assured .. Ithaca College. . Ithaca, NY

. . SUNY Potsdam Potsdam, NY Daniel W. Skupski, M.D. . SUNY Fredonia Fredoniak NY The New York Hospital - March 16 Indiana University ofPennsyvani Indiana, PA Comell Medical Center March 21 ... Eastman School of Music ... Rochester, NY 525 Hast 68th Street - J 130 March 25 Western Michigan University Kalamazoo, MI New York, NY 10021 University of Western Illinois Macomb, IL .. DePaul University... Chicago, IL André M. Smith, M.S. University ofIowa Towa City, IA Box 1595 - Cathedral Station Bradly University . Peoria, IL New York, NY 10021 Kent State, Salem .

Indiana University Telephone: (212) 222-3243 North State. Fax: (212) 222-6179 .-. Frauenkulturhaus Freiburg, GER International Trombone Workshop . as Vegas, NV .. Evangelische Kirchen Tage ..... Hamburg, GER New Works for Brass Compiled by Faye-Ellen Silverman

Alberger, Mark, Business as Usual from the composer c/o Performing Arts INTERNATIONAL WOMEN'S for brass quintet. (c. 18") Available from Center 146, St. Cloud University, 720 BRASS CONFERENCE Happy Music, P.O. Box 2842, San Fourth Avenue South, St. Cloud, MN Anselmo, CA 94960. (415)457-3714 56301. BOARD OF DIRECTORS

Biggs, John, Celebration for 3 Peterson, Mark. Five Conjectures tpts, 4 hns, 3 tons (5'). Liturgical So- for brass quintet. (c. 8') Available from Susan Slaughter, President nata for 2 tpts and organ or 2 tpts, hn, 3 Happy Music, P.O. Box 2842, San Constance Weldon, tbns., tuba &/or string bass(6?30"). Anselmo, CA 94960, (415)457-3714. Available from: Consort Press, Box Vice President Mary Bahr 50413, Santa Barbara, CA 93150. Ruehr, Elena. The Voyage Out Rebecca Bower, for brass quintet. (c. 14") Available Newsletter Editor Bums, Kristine H. Atanos If for from: Elena Ruehr, 276 Pearl St. #C, Velvet Brown tuba and stereo soundtracks. (8'12"), Cambridge, MA 02139, Available from Dr. Kristine H. Burns, Barbara Butler 36 North Pleasant Street, #8, Oberlin, Sartor, David P. Polygon for brass Jan Z Duga, Secretary Langston Fitzgerald, IIE OH 44074. quintet. (17°30") Available from the Laurie Frink composerat2460Fairbrook Drive, Nash- Cox, Cindy. Work for SoloTrom- ville, TN 37214, Ramona Galey boneand Electronics, (c.8') Available Laurel Ohlson from: Cindy Cox at Department of Thomas, Karen P. Clarion Dances Roger Oyster Music, University of , Berke- forbrassensemble (4/4/3/1),(12'). Avail- ley, CA 94720. (510)522-8256 able from the composer at 1408 N. 36th EXECUTIVE DIRECTOR St, Seattle, WA98103. (206)632-7747. DeWys,Margaret. Color ofGluon Terri Flack for brass quintet(5 1/2?). Pulse fortrom- Wells, David. Sonata for Trom- HONORARY BOARD bone (8'). Available from the composer bone and Piano (ca. 9'). Available OF DIRECTORS c/o BardCollege, Annandale,NY 12504. from David Wells at 4321 Northgate JoAnn Falletta (914)758-5048 NE, Grand Rapids, MI 49505, Catherine French Marshall, Pamela. Colored Leaves Gerard Schwarz forsolo horn. (6?15"). Hillside for brass *Note to Composers: Due to lack Faye-Ellen Silverman Leonard Slatkin quintet for Aiphorn in Gb or F. (3' ). of space we can only list those works Availablefrom: Spindrift Music Co., 38 written since 1992 and no more thantwo Joan Tower Gail Williams Dexter Road, Lexington, MA 02173. pieces per composer. The listings will (617) 862-0884 appear in the order they are received. Please mail your listing to Faye-Ellen Miller, ScottL. Studyin Brass for Silverman, 330 W. 28th St. Apt. 70G, hn and tbn. (c. 7'), Industrial Breed New York, NY 10001-4722. for ob, tpt, and pno. (c. 8'). Available