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 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 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 band in Europe. In 1958, as aJazz masterat its annual conference first recording with she released an album as leader, pro- next spring. [1995] Earlier this year the and joined ?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 , Abbey Lin- 7? of Los Angeles presented an achieve- the South with 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 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, , Sarah recordings that she led along with Vaughan, and , 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. ?We've got a tough row to hoe with thetrumpets... Those [male] trumpet players...guard those positions like a bulldog on a bone!? The IWBC Board of Clora Bryant Directors wishes to ?The acceptance of women as...role models is an important step. It is thank you for your this process of identification, respect and then self-respect that promotes growth.? support,and toremind Judy Chicago you that all donations/ To order When Will The Walls Come Tumbling Down? please send check or money order for $22.95 plus $2.50 shipping and handling ($25.45 total) memberships are tax payable to Gerald Best Webster to: deductible. Gerald Best Webster, Best Press, P.O. Box 8155, Portland, OR 97207-8155 Contributors Mini Lesson with Jane Sager ~ July 1993 - September 1995 As you read in our February 1995 Newsletter, Jane Sager is well known for as $240 and up her performance career with her trumpet, but did you know her career a teacher Rebecca Bower * Barbara Butler is equally successful? Students from all over the country seek out Jane's advice on Jan Z. Duga * Emerson Electric Co. how to develop endurance and the upper register. What follows is a "mini lesson" Laurie A. Frink * Teresa M, Hansbury with Jane. Roger Oyster » Susan Slaughter Mr. and Mrs, Philip Slaughter Jane, a student of Edward Llewellyn, formerly Principal Trumpet of the Chicago Symphony, calls her method ?DIA FLEX DYNAMICS?. These exercises $100 to $249 may be used by beginners, intermediate and advanced students, However, as in any Sylvia Alimena « Dr, Patricia Backhaus Kathy Brantigan * Glenda Coutier situation, some changes will be necessary depending on the natural ability and Abbie Conant + Joyce Davis « Betty S. Glover personality of the student. Norma L., Lain » Diane LeFeaux Brenda K. Melson Dewi Minden * Peter Piacquadio Here are the ?DIA FLEX DYNAMICS? exercises. Ifyou have any questions, Michelle Baker-Reed just give Jane a call. She would love to talk to you. Gary A. Smith and Shirley Bynum David S. Takach « Peggy D. Walsh ?DIA FLEX DYNAMICS? BY JANE SAGER WARM-UP AND BUILD-UP - fuse minimum mouthplece pressure) Up To $99 Sara Albert » Tommie Jean Anderson Martha J. Awkerman « Natalie Ann Berg IL A. Play on trumpet Suzanne H. Brown » Heather Buckman B. Buzz on mouthpiece Mary A. Burroughs * Lauraine Carpenter Janell Caster « Trudy Cavallo * Mary Ann Craig C, Repeat A and B adding a tone each time. Mary W. Culbert » Helene Dauerty Denisek DeMoulin ¢ Linda Dempf JoAnne Edwards + Joan C. Fann Blaina Pamsworth * Margaret L.Gage Lila Gailing * Ramona Galey + Ann Gilreath Judith A. Goedeker « Jean Shirley Grossman Delores Marshall Haber Myra Ann Hosack Barbara Hult Frances Shirley Kass « Carole R. Klein Julie Lansman + Gloria A. Luitjens Lois Cronan Magee * Amy J. McBeth Barbara J. McGough + James MeGrath Dawn McLean = Jeffrey E. Neville Kay D. Nichols + Carole Jeanne Paul Jean » Susan Leigh Pilzer * M. Rife E. Scar ~~ T James R. and Barbara J. Scheer os ~ al * Nancy Schick, Schick Music Copying Lauren Schiff New York Brass Conference for Scholarships Stuart N. Senniger* Marie Speziale LIP FLEXIBILITIES Ed Stevens » Rachel Thomas Mary E. Weber*Laverne R. Wollerman I. A. Slowly the first time, then faster B. Reverse pattern slurring from the higher note to the lower note nent A

(Continued on facing page) @iane Sager From Preceding Page 1993 [WBC Dedicated to Susan Slaughter, Patron Saint of Women Brass Players

On center stage a flash of brass in her hands her lips applied a song emerges and cannot stop cannot be contained nor muted throughout the world D. Slowly the first time, then faster. E. Reverse pattern Womanwind Womansong richly filling all space the warm air shimmering

And now she stops DIAPHRAGM - RANGE and looks out. Ml A. Adda pedal tone two octaves lowerto the end of each exercise. Glints of brass of silver B. Continue the exercise and go as high as possible. celebrate her eyes and she hears tubas trumpets homs crescendoing lifting her this brass-tinted scirocco velvet and golden responding Gabrieli-like lifting her up on human hands and hearts opening the cobwebbed space in her chest LIP ?COME BACK? EXERCISES - PEDAL TONES filling it goldenly Lifting her Lifting her IV A. Play pedal tones whenever lip gets tired.

Who was once -=SSeS someone?s muse is now brassblowing flesh and blood and there are armies of them, 1, #1 25 add a B. Clarke: Technical Studies No. - pedal tone peaceful glorybound armies. to the last measure of each exercise Anonymous

C. Clarke: Technical studies No. 2 #21 - triple tongue each note #28 - double tongue each note #29 - running double tongue each note #30 - slur as printed

e Repeat this sequence throughout the entire study.

Rest 15 minutes ~ thenplay some fun tunes or ad lib jazz solos

Close with pedal tones as low as possible. New Works for Brass IWBC Compiled by Faye-Ellen Silverman BEHAVIOR

Baldwin, David. Concerto for Munn, Zae. Brass ChoirNo. 1 for Al?s Breakfast for euphonium solo and brassensemble(4,3,3,1).(7°20"). Avail- SURVEY brass quintet. (22') Availablefrom: Dr. able from the composer c/o Department David Baldwin, School of Music, Uni- of Music, Saint Mary?s College, Notre Becauseofthe stories we?ve been versity ofMinnesota, Minneapolis, MN Dame, IN 46556. (219) 284-4624. hearing from around the country and 55455. some of our own very negative experi- Plog, Anthony. Erica and the ences working with our colleagues, the Blackman, Rachel Cyrene. Slides Euphonium for euphonium solo, or- TWBC has decided to conduct an inter- ForBrass Quintet. (12') Availablefrom: chestra, and narrator. (11'). national. survey. The stories we? ve been Rachel Cyrene Blackman, 21 Glade Available after 1996 from EditionsBIM. hearing range from obscene words writ- Avenue #2, Boston, MA 02130. ten on Rusche,Marjorie Maxine. RiseUp musicto brasnapping to denigrat- ing jokes about women or minorities to Corbett, Sidney. Concerto for ShepherdandFollow-ChristmasSpiri- pressures of demotion or dismissal to Tromboneand Orchestra. (c. 15')Pub- tual for SATB andbrassquintet. (3 15"). men exposing themselves. If you have lished by Moeck Verlag, Celle, Ger- Trio for Brass for tpt, tb, and hn. (8'). experienced anything similar, from the many. (U.S. Distribution through Euro- Available from the composer at 934 D seemingly trivial to the outrageous, we pean-American Music). Hamlet Varia- South Maxwell Terrace, Bloomington, would like to hear from you. Your con- tions for euphonium. (c. 20') Available IN 47401. (812) 333-6539 tact with us will be kept strictly confi- from the composer at 8 Applewood dential and your experience recorded Square, Durham NC 27713. (919) 419- Steinke, Greg. Native American anonymously, 7297. Notes II - The Bitter Roots of Peace. * (Image Music Vic) for Tuba-Eupho- We feel that gathering this infor- Denisch, Beth. Anfergian forsolo nium Quartet( 17'). Tableaux in mation in this way is essential. Only trumpet and drum set(5'). Published by Memory of Chief Joseph. (Image Mu- through this process can we document Juxtab Music, 66-68 Thomas Street, sicXI) forTrumpet(s)and Timpani (20°). and identify the extent of these prob- Medford, MA 02155. (617) 391-4062. Distributed by Tierra del Mar Music, lems. Because of our isolation from 1000North Denmark Drive, Muncie, IN eachother (as femalebrassplayers) there Jones, David Patrick. Black Box 47304-9302. is no easily accessible forum to infor- Music for hn, bass tbh, and piano. mally discuss these issues amongst our- Waiten, Frank E. Five Vignettes (11°35"). Canzona for 2 tpts/flgs, and selves. After gathering this information perc. (8°30"). Heather Lake fortrom- for French horn and brass quintet. (13'} and carefully analyzing it, we can con- bone ensemble. (5°15") . Oblique Tra- Available from Frank E, Warren Music sider joint efforts to address the prob- jectories for brass ensemble (4 / 4 / 3/ Service at26Wiswall Street,West New- lems and provide support for one an- ton, MA 02165. bass tb/ euph./ tuba, and 2perc.). (5?45") other. Availablefrom David Patrick Jones, 106 North Clark Street, Bioomington, IN Yampolschi, Roseane. Brass If you are interested in learning 47408, (812) 334-0564 Quintet(c.10). AvailablefromRoseane more about our survey, or would like to Yampolschi at 2044-D South Orchard share your experiences, please either Melilio, Stephen. Erich! for tuba- Street, Urbana, IL 61801-6120. (217) write or fax. All responses will be seen euphonium quartet and timpani. (7') 328-4979 by the President and Editor only and Available from Stephen Melillo,91 Carol every effortandprecaution will betaken Street, Suite 4, Ramsey, NJ 0744 to protect your privacy, anonymity and safety. *Noteto Composers: Due tolackofspace wecan only list those works written ~ IWBC Survey since 1992 and no more than two pieces per composer. The listings will appear in the order they are received. Please mail your listing to Faye-Ellen Silverman, 330 540 S. Geyer Road W. 28th St. Apt. 70G, New York, NY 10001-4722. St. Louis, MO 63122

& Directory Update - September 1995

@:Baccaro (Trumpet) Kathy Dodds (Trumpet) Catherine Leach (Trumpet) 103 Hillegass 1905 9904 104th St. 931 Michigan Ave. E-3 Berkeley, CA 94704 Edmonton, ALB T6K 0&4 Evanston, iL 60202 510/548-4152 (H) CANADA Principal Trumpet-Knoxville 403/426-5598 (H) Symphony Michelle Baker-Reed (Horn) 26 Fox Road Andrea Emberly (Trumpet) Jeannie Little (Trombone) Cedar Gove, NJ 07009 26 Sable Crescent 7865 Sunset Drive New Jersey Symphony Orchestra St. Albert, ALB T8N OHI Traverse City, MI 49684 CANADA 616/936-0224 (H} Dorothy Boisseau (Trumpet) 403/468-3994 (H) Interlochen Arts Academy, PRISMA 13 Governor's Hilt West Warwick, RI 02893 Susan Enger (Trumpet) Lois Cronan Mages (Trombone) 401/828-7043 {H) 392 S. Fenwick Rd. 9401 Dempsey Ave. Principal Trumpet, Warwick Memphis, TN 38111 North Hills, CA 91343 Symphony 901/454-5197 (H} 818/892-4784 {H}

Kathy Brantigan (Tuba) Elaina Farnsworth ?(Trombone} Vicki Quint (Horn) c/o Denver Brass 10960 Beach Bivd. Lot 243 2536 Quint Lane 2253 Downing St. Jacksonville, FL 32216 Columbia, IL 62236 Denver, CO 80205 904/641-1579 (H)} 303/832-4663 (H) Marquita Reef (Trombone) 303/832-4676 (Wh Deb Floyd {Trumpet} 10452 Canfield Dr. 2122 Summit Ave. St. Louis, MO 63136 Margaret Brouwer Racine, WI 53404 314/869-6547 {H) 4 Box 175A Gee. Baths, VA 24473 Michelle R. Gonzales (Trumpet) Wendy Ryan {Trombone} 3/348-1509 (H) 2702 Owens Cross Dr. 410 Wilson Ave. Composer Houston, TX 77067 Satellite Beach, FL 32937

Robin Dewey Card {Trumpet} Delores Marshall Haber = (Trumpet) Catherine Setzer (Trumpet) 5001 Valley Hills Drive 17161 Sandra Lee St. 2055 Craigshire Dr. Cross Lanes, WV 25313 Huntington Beach, CA 92649 St. Louis, MO 63146-4009 304/776-2497 (H} 714/846-7444 (H) Sherrie Tucker Cathy Chariton {Tuba} Barbara Harnish-Hunter = (Trumpet) P.O, Box 73 3 Scott St. 26 Av. de L'Eglise Felton, CA 95018 Red Deer, ALB T4N OE3 Point Claire, QUE H9S 5/2 408/335-0178 (H)} CANADA CANADA 408/335-0178 (FAX) 403/346-5013 (H) 514/794-9509 (H} Freelance, Solo Trumpet, Black Mary E. Weber (Trumpet) Helene Daverty (Bass Trombone) Watch Assoc. Concert Band 4067-A Shenandoah Ave. 3111 S. Leonard Sprg. #145 St. Louis, MO 63110 Bloomington, IN 47403 Patricia Hurley (Trumpet) 314/865-2064 (H} 812/334-7930 (H) 118 Havemeyer Place 314/994-1281 Voice Mail {W) Greenwich, CT 06830 314/865-2064 (FAX) Jodi Davis {Trombene) 203/629-8560 (H) 5920 Horning Dr. Community Music School ine. L. Lynne Williams {Tuba} Kent, OH 44240 15 Miller Ave. 216/677-0951 (H)} Julie Josephson {Trombone} S. Freeport, NY 115202 PRISMA 345 Bay Ave. Patchogue, NY 11772 516/475-3946 (H) PRISMA

Copies ofthe Directory are availablefor$5.00from IWBC. See membershipform to order.