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I “YOU SOUND LIKE an OLD BLACK MAN”: PERFORMATIVITY of GENDER and RACE AMONG FEMALE JAZZ SAXOPHONISTS by Yoko Suzuki Submitt

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I “YOU SOUND LIKE an OLD BLACK MAN”: PERFORMATIVITY of GENDER and RACE AMONG FEMALE JAZZ SAXOPHONISTS by Yoko Suzuki Submitt “YOU SOUND LIKE AN OLD BLACK MAN”: PERFORMATIVITY OF GENDER AND RACE AMONG FEMALE JAZZ SAXOPHONISTS by Yoko Suzuki Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2011 i UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Yoko Suzuki It was defended on March 22, 2011 and approved by Andrew Weintraub, Professor, Department of Music Mathew Rosenblum, Professor, Department of Music Sherrie Tucker, Associate Professor, American Studies, University of Kansas Dissertation Advisor: Nathan Davis, Professor, Department of Music ii Copyright © by Yoko Suzuki 2011 iii “YOU SOUND LIKE AN OLD BLACK MAN”: PERFORMATIVITY OF GENDER AND RACE AMONG FEMALE JAZZ SAXOPHONISTS Yoko Suzuki, PhD University of Pittsburgh, 2011 This dissertation explores through the case study of female saxophonists how the increasing number of female jazz instrumentalists has impacted norms of gender, race, sexuality, and age among jazz musicians, audience members, and the music industry. Through ethnographic fieldwork, archival research, and an analysis of videotaped performances of female jazz saxophonists, I demonstrate that female performers tend to perform masculinity in order to conform to the historically and culturally established discourse of the genre, the instrument, and its performance style, all of which are closely associated with African American men. In addition, I illustrate that female saxophonists’ “performances” of gender include not only visual aspects (clothing, hair style, make-up, facial expressions, body movements) but also musical sound (composition types, sound quality, delivery style, volume, tempo, improvisational styles), which signify masculinity and femininity within the cultural contexts in which they perform. This work further shows that masculinity and femininity are complicated by other categories of identity including race, sexuality/sexual orientation, and age. In other words, masculinity and femininity are not a simplistic binary construction but rather fluid variables that are historically and culturally contingent and also intricately intersected with race, sexuality and age. Further, I suggest that the increasing visibility/audibility of female jazz saxophonists with the help of digital recording and network technology may pose a challenge to the masculinist and heterosexual discourse of jazz. iv TABLE OF CONTENTS 1.0 INTRODUCTION ........................................................................................................ 1 1.1 RESEARCH QUESTIONS ................................................................................. 4 1.2 THEORETICAL FRAMEWORK ..................................................................... 6 1.3 STATE OF RESEARCH .................................................................................. 14 1.3.1 Jazz and Gender/Sexuality ........................................................................... 14 1.3.2 Jazz and Race ................................................................................................. 23 1.4 METHODOLOGY ............................................................................................ 29 1.4.1 Interviews ....................................................................................................... 30 1.4.2 Participant-observation ................................................................................. 31 1.4.3 Analysis of performance ............................................................................... 31 1.5 RESEARCH SIGNIFICANCE ......................................................................... 32 1.6 CHAPTER OUTLINE ...................................................................................... 34 2.0 “INVISIBLE/INAUDIBLE WOMEN: VI BURNSIDE, WILLENE BARTON, AND VI REDD” .......................................................................................................................... 37 2.1 VI BURNSIDE ................................................................................................... 40 2.2 WILLENE BARTON ........................................................................................ 45 2.3 VI REDD ............................................................................................................. 53 2.4 CONCLUSION .................................................................................................. 64 v 3.0 CARESS THE NOTES OR GET UP AND BURN: GENDERING MUSICAL SOUND IN JAZZ ........................................................................................................................ 69 3.1 JAZZ AS A “MASCULINE” MUSICAL GENRE ......................................... 71 3.2 JAZZ AS DISCOURSE ..................................................................................... 82 3.2.1 Swing ............................................................................................................... 83 3.2.2 The Saxophone ............................................................................................... 84 3.2.3 How Should Jazz Saxophonists Sound? ...................................................... 89 3.2.4 Improvisation ................................................................................................. 95 3.2.5 Jam Sessions—Cutting Contests .................................................................. 99 3.3 CONCLUSION ................................................................................................ 103 4.0 “ARE YOU STRAIGHT OR GAY?”: INTERSECTION OF GENDER AND SEXUALITY IN JAZZ ............................................................................................................ 106 4.1 HOMOPHOBIA AND MASCULINE-SEXUALITY MYTH IN JAZZ ..... 107 4.2 WOMEN DON’T COME OUT ...................................................................... 111 4.3 FEMALE JAZZ SAXOPHONISTS—ARE YOU GAY? ............................ 114 4.4 IS JAZZ A SAFE HAVEN FOR LESBIAN INSTRUMENTALISTS? ..... 119 4.5 RELATIONSHIP BETWEEN SEXUALITY AND MUSIC ....................... 123 4.6 CONCLUSION ................................................................................................ 127 5.0 “TWO STRIKES” AND “DOUBLE NEGATIVE”: INTERSECTION OF GENDER AND RACE ............................................................................................................. 129 5.1 BLACKNESS, AUTHENTICITY, AND DOUBLE CONSCIOUSNESS .. 131 5.2 ARE WHITE AND FEMALE TWO STRIKES? ......................................... 141 vi 5.3 “IT’S SOMETHING IN THE BLOOD”: BLACK CULTURAL IDENTITY AND JAZZ ........................................................................................................................ 148 5.4 WHY ARE THERE SO FEW AFRICAN AMERICAN FEMALE JAZZ SAXOPHONISTS? ........................................................................................................... 156 5.5 CONCLUSION—ESSENCE OF BLACKNESS VS. DIFFERENCE ........ 161 6.0 FEMININE BODY, MASCULINE SOUND: VISUAL AND AURAL PRESENTATIONS OF FEMALE SAXOPHONISTS .......................................................... 166 6.1 HOW DO THEY WANT TO LOOK? ........................................................... 168 6.1.1 Pants and Shirts vs. Skirts and Dresses ..................................................... 168 6.1.2 Women’s Age Matters ................................................................................. 175 6.1.3 Images of Female Jazz Saxophonists on the CD covers and Websites ... 178 6.2 SOUND AND IMAGE IN ACTION: VIDEO CLIPS .................................. 187 6.2.1 Sue Terry ...................................................................................................... 187 6.2.2 Tia Fuller ...................................................................................................... 190 6.2.3 Grace Kelly ................................................................................................... 193 6.3 FEMALE SAXOPHONISTS IN SMOOTH JAZZ ...................................... 196 6.4 AUDIENCE RECEPTION: EMPIRICAL APPROACH ............................ 201 6.5 CONCLUSION ................................................................................................ 206 7.0 CONCLUSION: PERFORMING A FEMALE JAZZ SAXOPHONIST AND CHALLENGING THE DISCOURSE OF THE JAZZ SAXOPHONIST ........................... 209 7.1 ADVANTAGES AND DISADVANTAGES OF BEING A FEMALE SAXOPHONIST ............................................................................................................... 211 7.2 ALL-FEMALE BANDS AND WOMEN’S JAZZ FESTIVALS ................. 214 vii 7.3 SO MANY WOMEN WERE WIMPY! ......................................................... 223 7.4 MACHISMO WITHOUT MEN: DEALING WITH OTHER FEMALE SAXOPHONISTS ............................................................................................................. 226 7.5 YES, I AM A WOMAN VS. I NEVER THOUGHT ABOUT BEING A WOMAN ........................................................................................................................... 229 7.6 WE’RE EVOLVING: TOWARD THE NEW JAZZ DISCOURSE ........... 232 7.7 CONCLUDING REMARKS .......................................................................... 236 BIBLIOGRAPHY ..................................................................................................................... 243 viii LIST OF FIGURES Figure 1 Sharel Cassity, Just For You .....................................................................................
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