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Vol 2 No 2 October 1995.Pdf Volume 2, Number 2 October, 1995 I would like to thank those of overcome. Because of our isolation as Dear Members: you whoresponded totheBehavior Sur- female brass players it is only through vey in the last issue. I am running the such an organization as the [WBC anda As a follow-up to our feature Survey again in hopes that more of you forum such as this Newsletter that make article in the last IWCB Newsletter we will take the time and courage to re- it possible for us to freely express our- offer you Jane Sager?s Warm-up Tips spond, From my own personal experi- selves and unite to help each other. I and Practice Routine. Thanks to Jazz ence, it was not until after I joined a hope each of you will take advantage of Now Magazine, we havereprinted a bio- Major Symphony Orchestra and began this unique opportunity. graphical article written by Pat Mullan to have major problems with my male Please send any letters to the about Melba Liston, another great fe- colleagues that I began to reflect over Editor to Rebecca Bower,1137 Rich- malebrasspioneer. This article appeared theprevious seventeen years ofmy pro- mondStreet, Pittsburgh, PA 15218-1014. in the October 1994 issue of Jazz Now fessional career and realize just how Magazine. many gender-related obstacles I had Rebecca Bower, Editor Melba Liston: Jazz Master by Pat Mullan A world-class trombonist and ar- Bornin 1926in KansasCity,Melba North Carolina, and Liston decided to ranger, Melba Liston is finally getting Liston chose the trombone as herinstru- go home and take a day job. She worked the recognition she deserves in the Jazz ment at age ten. Her first destination as a bookkeeper for the Los Angeles pantheon. This December, [1994] upon graduating from high school was County Board of Education, as a film Camegie Hall will feature her big-band the LosAngeles Musicians? Union. She extra, and as a freelancer for Motown charts in its evening oftributestowomen joined, got a job with the pit band at the Records. in Jazz. The Smithsonian Institution is Lincoln Theatre, and was writing ar- In the mid fifties, Gillespie asked currently interviewing this trombone rangements at age sixteen. Liston to rejoin his band. She traveled great for its prestigious Jazz Oral His- Liston worked for other bands, with theGillespie band for State Depart- toryProject, and the IntemationalTrom- including those ofFletcher Henderson ment appearances and toured with the boneAssociationwillhost MelbaListon and Earl Hines, In1947 she made her Quincy Jones band in Europe. In 1958, as aJazz masterat its annual conference first recording with Dexter Gordon she released an album as leader, pro- next spring. [1995] Earlier this year the and joined Gerald Wilson?s bandfor an duced by Leonard FeatherforColum- Berkeley Public Library invited Liston eastemm tour, holding down the trom- bia, called Melba and Her Bones., on to be the guest of honor at its free three- bone chair and writing arrangements. which she featured trombone quartet ar- night Jazz trombone festival. The Mid- When Wilson's orchestra disbanded, rangements. west radio station KUVO aired a Liston Liston and Wilson joined Dizzy Throughout the sixties, Liston ar- tetrospective. A few years ago the city Gillespie?s Orchestra. 1n1949 shetoured ranged for Count Basie, Abbey Lin- 7? of Los Angeles presented an achieve- the South with Billie Holiday in aband coln,DianaRoss, ClarkTerry,Freddie tent awardto Liston. Her latest record- that Wilson formed. But in Liston?s Hubbard, and ArtBlakley, among oth- ing scored third highest in the 1993 words, ?the South wasn?t ready for ers. In New York she wrote for Duke album-of-the-year polls. Lady Day.? The band got stranded in Continued on Next Page ??? Melba Liston - From Page 1 ranger. When stature ofthe singers and musicians who New York?s sought outher services attest to herdeep ~? Lincoln Cen- musical creativity and essential hipness. ter recog- Current physical limitations cannot nized Jazz as impede her love ofthe music; she listens a bona fide deeply, and herbig soul sparkles. Melba art form in Liston fully deserves all the tributes September coming her way. 1991, the first Jazz concert pre- sented was ?Blues to Af- rica? by the Randy Weston Big ?Band, per forming works ar- rangedbyMelba Melba Liston at Berkleley Public Libraru, basking in the glow of Liston, She sat Opwitm to Establish Hip Bones: The Year of the Trombone Jazz Festival which was dedicated to her. April 1994 onthestage with Archive for Women scores in hand, encouraging the and Minorities in Ellington, Tony Bennett and the Buf- musicians to meet the challenge of her Music a falo Symphony Orchestra. She taught difficult arrangements and to imbue the trombone in Harlem and ted youth or- music with soul. One of the new projects that chestras in Watts. Liston?s arranging in her joint OPWIM eagerly anticipates is the de- In the early seventies, she did recording projects with Randy Weston velopment of an archive for women and minorities in music. It is hoped that the stage-band arrangements for Aretha dazzles the listener. Both of the 1990s collection of materials and information Franklin, Dinah Washington, Sarah recordings that she led along with Vaughan, and Ray Charles, She con- Weston, Spirits ofour Ancestors (1992) received will allow for the development ofaneducationalresourcesystem which ducted Randy Weston?s orchestra at and Volcano Blues (1993), document can be made available to all AFM mem- the Newport Jazz Festival. AtWeston?s her penchant for inspiring world-class bers. be urging, Liston traveled to Jamaica in musicians to master her very demand- Among various materials to included are publications,compositions, 1974 to become director of popular ing and fully satisfying writing. The recordings, radio and television tran- music studies at the University of the critics have raved about both record- West Indies. There she single-handedly ings. Volcano Blues earned third place scripts, articles of interest pertaining to and instilled Jazz in that classical, reluctant- as Albumofthe Yearin the Down Beat women minorities, etc. to-change academic structure. In 1979, international critics? poll and the Vil- Liston returned to the United States and lage Voice critics? poll. We welcome and appreciate any materials that ourOPWIM members and formed an all-woman Jazz ensemble. The unique challenges sheencoun- Melba Liston and Company, that tered as a woman playing a brass instru- supporters would like to donate for this historical and educational documenta- toured European festivals and played in ment did not deter Melba Liston from a tionofWomen and Minorities inMusic. NewYorkCity, includingCamegie Hall. pursuing full life in music. Routinely Formore information orto submit mate- Astroke in the mid eighties ended shunning the solo spotlight to focus on tials, please contact Co-Chairperson: Melba Liston?s performance career, but excellent ensemble sound,Liston played her determination, strength and dedica- on over fifty recordings, mostly in big- Patricia L. Majors 1224 Atlantic Avenue, tion to music has inspired her to con- band settings. Her collaborations with Monaca, PA 1506] tinue working as a composer and ar- thelikes ofGillespie andWeston andthe Telephone: 412-728-4898 Commentary (nternational Women's Dear Editor: outstanding. Ikept asking myself, can it get better, and it did. Brass Conference I wanted to tell you that the first Board of Directors IWBC changed my life. I attended just At the timeI attended the confer- to hook up with a friend I hadn?t seen in ence, I had been offered the graduate Susan Slaughter years. 1 was abit intimidated because of assistantship at Illinois and was trying to President the title and because the purpose of the decide whether to go and what field to conference was not clear to me, J was concentrate my efforts in. I had contin- Daniel Burdick afraid it wouldbeamale-bashing type of ued playing the trumpet while teaching Executive Director experience, but I was incredibly wrong in the public schools in Virginia but was in that assumption. It turned out to be a bit wary of auditions and competing one of the most rewarding experiences with the young folks, Because the posi- Rebecca Bower, Newsletter Editor in my career. I had no idea that there tive outlook J gained at the conference, I were so many talented and incredible pursued the Master?s degree in Music Jan Z Duga, women performers in the brass world. I Education witha brassperformancecon- still carry many of the performances I centration. Now, I freelance in the Secretary heard in my head. Charleston area while teaching a studio of 10to 15 students. I?mpoorbuthappy Mary Bahr Velvet Brown My eyes were opened and my and confident in what I am doing. vision of the world was broadenedabit Barbara Butler TEI through exposure to these performers. Asanaverageperson who attended Langston Fitzgerald, Laurie Frink Not once during the conference did 1 your conference, I was affected in a hear any male-bashing or negative re- highly positive manner. Ramona Galey Laurel Ohlson marks concerning anyone. On the con- trary, [left feeling positive about myself Thank you, Roger Oyster and about what I could do. The sessions Eugene Pokorny were informative and the recitals were Robyn Dewey Card Honorary Board of Directors -~When Will the Walls Come Tumbling Down...? JoAnn Falletta Catherine French An Essay on Women Playing Trumpet and Other Brass Instruments Gerard Schwarz by Alfred Willener Faye-Ellen Silverman Why is it especially difficult for women to be accepted into the brass Leonard Slatkin playing profession...? Sociologist, researcher, amateur trumpet playerand noted Joan Tower author Allfred Willener describes what he saw and felt during the May, 1993 Gail Williams International Women?s Brass Conference ? stories he heard, tears he saw, music he felt and attitudes he sensed.
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