Musicwoman Magazine by Musicwoman and Musicman Magazines

Gathering great women musicians together and getting their music heard by multitudes! Spring 2023

Issue #5

spring 2023

From the International President Dear Women in Jazz South Florida and globally,

south florida

Summer is around the corner and many of us are touring. We will play at parks, clubs, festivals, and concert halls. Sometimes, we will sleep in hotels, other nights, on a tour bus on our way to another far away city. Or we will drive six hours, after the gig, to come home to our family and hug everybody good morning. Between sound checks and shows, I call home to my husband and two children to ask how their day was. I call mom and grandmother, cheering everybody up, and trying to be supportive, even if the tour bus just broke down and we are in the middle of nowhere. We need to find new songs to sing, write scores, after everybody has gone to bed, compose, design our stage outfits, and be there to shine and share wonderful music with those who come to listen. We teach and help other musicians to be the best they can be. It’s a challenge to put all the pieces of the puzzle together. We are living our dream. Not to mention, answering all those questions from people who ask why we are not home, taking care of our family, and how much do we get paid. My challenge has been to bring my children with me, as often as I can, and give them a good relationship with music. Many places I play have a 21-year-old age limit. So, the children, who are 13 and 18, have to hide backstage, or be smuggled in, under blankets, to play on stage. To live, day by day, and make it all work is the key to happiness, in everything I do. I grew up in a musical family, and toured with my parents and three siblings. I won’t mention the economy, but I cannot count the times the bus broke down, often in the middle of the winter. One day, we would play for five thousand people and, the next day, for five. But that’s the beauty of it all. Music is important to us humans and it is imperative that women participate and be seen performing in the music business. If we can make a difference for people, we have accomplished a lot. One song is so full of love and meaning that words are unnecessary. We all have different life situations, but we must support each other. Joan and I discussed producing a festival to gather us women together to have fun, play music, and just hang with each other. I want to invite you to my podcast on YouTube. Please be my guest, whenever you want. I’m so glad for you and the music you share with the world. Keep on. More updates will come from me. https://www.youtube.com/@CarlingJazz Love, Gunhild Carling http://www.gunhildcarling.net photos by Eric Morgensen

since 2007

INTERNATIONAL PRESIDENT

Dr. Joan Cartwright, Executive Director Women in Jazz South Florida, Inc. 954-740-3398 Support women musicians!

Dr. Joan Cartwright Editor-in-Chief

Musicwoman Magazine ®™ TEAM ©

Publisher: Women in Jazz South Florida, Inc. Founder/Executive Director: Dr. Joan Cartwright – admin@wijsf.org Creative Director: Dr. Joan Cartwright Executive Administrator: Mimi Johnson – media@wijsf.org Social Media: Mimi Johnson; Marika Guyton Editorial Staff: Dr. Joan Cartwright, Vikki Romero Creative Team: Jodylynn Talevi, Lydia Harris, Mimi Johnson Contributing Writers: Dr. Joan Cartwright, Lydia Harris, Gail Jhonson, Mimi Johnson, Junn Pato-Ryan, Deisy Francis Mexidor, Paulette C. Jackson, Biggi Vinkeloe General Inquiries: info@wijsf.org Sponsorships: wijsf@yahoo.com Musicwoman Podcast: www.blogtalkradio.com/musicwoman Social Media/Website: www.wijsf.org www.musicwomanmagazine.com www.facebook.com/groups/musicwomanmagazine www.issuu.com/joancartwright/docs/mwm2023 www.twitter.com/wijsf | www.twitter.com/musicwoman Submissions: http://www.wijsf.com/musicwomanmagazine/submissions.htm DISTRIBUTION For sale at Publix Super Markets, Barnes and Nobles Bookstores, and at wijsf.org Complimentary issues can be found year-round at select high-traffic locations and high-profile events through South Florida. Check our website and fb pages for up-to-date lists of events. Cover photos: Tomoka: Tyree Phillips, Yudianis: Deisy Francis Mexidor Read Spring 2023 online: https://issuu.com/joancartwright/docs/mwm2023

table of contents

d Letter from the International President 3 d Letter from the Editor 6 d From the President 7 d Vocalists t Janice Harrington 8 t Donna Singer 10 t Denise King 14 t Mzuri Moyo Aimbaye 18 t Michele Hendricks 20 t Fiona Ross 24 t Yeny Silvia Dalmau Brindis 26 d Talent Spotlight t Adriana Herrera Fuentes 30 t Yudianis Quintana Changuita 31 d Horn Players t Ginetta Silvi 36 t Naomi Joy 38 t Paula Atherton 40 t Tomoka Nomura-Jarvis 42 t Sarah Marie Hughes 44 d Special Features t Vi Redd 47 t Musicwoman Mothers & Daughters 48 d Health Corner by Lydia Harris 52 d In Memoriam t Ottilie Patterson 54 t Libre Sene 55 t Sheryl West 55

From the Editor -in Chief Dr. Joan Cartwright The messages in women’s music MUST be heard! Whether they are vintage, fledgling, curvy, fluffy, obscure, or famous, we must consciously include women musicians and their compositions in all programming, particularly, those funded by public taxes. When I published my dissertation, Women in Jazz: Music Publishing and Marketing (2017), the copyright value was $21bn. In seven years, it grew to over $40bn. According to the 2021 report on global music, in one year, copyright value grew 18% to $39.6bn [https://musically. com/2022/11/03/global-music-copyright-2021]. Historically, however, women earn less than 20% of those earnings for a plethora of reasons that have to do with two issues, 1) gender discrimination in corporate control, public funding, and the music marketplace; and 2) the lack of business acumen among women musicians. The study funded by Spotify examined the artists, songwriters, and producers credited on songs that appeared on the Billboard Hot 100 Year-End Chart since 2012. According to their count, less than a quarter of the artists on the chart in 2021 were women. Over the past ten years, that number has been stagnant at 21%. Over the past decade, women only make up 12.7% of songwriters. The study also counted producers of select years, and found that women made up a paltry 2.8% (Limbong, 2022, p. 1). Just 5% of the $40bn, that is $2,000,000,000, or $2bn, would help women musicians, immensely! Those funds could come from corporations, public funding agencies and institutions, and private donors, if they focused their funding on women musicians and organizations that promote them, consciously, declaratively, and forcefully. Just 5%, or $2bn would set a trend for hiring, featuring, and paying women who play instruments and compose music. This would raise the percentage earned by women in music to 25%. The ration of 75:25 is still unequitable and, quite honestly, criminal when it pertains to public taxes used to fund musical presentations of any kind. That is a good place to start to demand equity. Women’s music is featured less at festivals, in streaming media, and in platforms like TV, films, and radio. Also, fewer funding opportunities are applied for by women musicians. The major reason is the lack of nurturing by families and schools of girls to become musicians. The lack of business acumen forestalls women from applying for grants. Our organizations have joined hands to show the world that girls can be taught and nurtured to become world-class musicians. Although I’m extinct as a jazz vocalist, rest assured that I touched many hearts with my music and with Women in Jazz South Florida, Inc., Inc. that has the mission of promoting women musicians, globally. This publication is an archive of our accomplishments and the beacon of things to come. Love and Music,

Dr Joan Cartwright, publisher Limbong, A. (2022). Music news: Women are still missing in the music industry, especially behind the scenes. (Retrieved from https://www.npr.org/2022/03/31/1089901763/women-music-industry)

MISSION STATEMENT

Women in Jazz South Florida, Inc., is a 501(c)(3) non-profit, educational organization that promotes women musicians, globally, through events, concerts, performances, clinics, lectures, workshops, articles, interviews, newsletters, courses, contacts, research, history, archives, websites, film, audio, and video recording, and recognition. Gathering great women musicians together and getting their music heard by multitudes!

Advertising and Membership

From the National President

Advertising and marketing are the best investments that you can make as a businessperson. Your marketing brand should be clear, precise, and easy to read such as a logo or slogan and the advertising side is putting the information out into the world on fliers, posters, business cards, magazines, billboards, radio and TV commercials, and social media. Many companies have very good products, services and ideas but they do not get the information out to enough consumers. This is where advertising helps you invest into visually programming people to buy your products, services, or ideas. Most companies fail if they do not advertise because no one knows who they are. So, it is very imperative that you invest your dollars in advertising for your business, if you want to flourish and profit. Associating with membership organizations increases your company’s visibility. When you collaborate with partners and other companies you increase your visibility and get more people to know about and purchase from your business. When you pay your membership dues, you assure that you are among the members whom that company promotes. You are in that circle of business owners and customers. Worldwide, successful companies always advertise and sharing their logos, every minute of the day. This is how to program the consumer to purchase your product or service. As your business grows, you need to spend more advertising dollars to stay in demand and ensure that your products, services, and ideas reach a larger target market. Think and grow! Mimi Johnson

www.wijsf.org www.musicwomanmagazine.com www.mjgenerationalwealth.us www.mjtvnetwork.com 404 - 974 - 5744

south florida

since 2007

NATIONAL PRESIDENT

E C I AN

N O T NG

I R R HA

south florida

since 2007

MEMBER

Janice Harrington by Dr. Nancy Dome

Where were you the first time you heard music? I truly believe the first music I heard was when I was in my mother’s womb! My mother sang, everywhere. She sang in the Voices of Victory Gospel Choir at Victory Baptist Church in Los Angeles, California. We spent a lot of time at church, so that was my first real memory. I grew up listening to jazz, blues, and gospel on the radio. My family loved music and we sang in the church. That was the beginning of a long love affair with music. Do you compose? If so, how many songs have you composed and/or published? I love composing. I write my best when I am in love, or feeling very bad. There is no happy medium for me. I wrote my first production, at 6 years old. There was a traveling musical tent show that came around every summer. I organized four little girls, and we did a can-can number to Four Leaf Clover.

I composed my first song at 12, called Sunny California, and rewrote it as a jingle for the telephone company. They didn’t buy it, but it was a great experience. Since then, I have composed 30 songs and published 20. On my current CD, Janice Harrington, 80 years of International Friendship there are 14 original songs. All my CD’s and songs are on most digital platforms. Do you have a music publishing company? I founded Gertler Publishing in May 2023, to publish CD’s. I formed a music label, Hip and Happy Label, named for my outlook on life. I like to call my own shots. Better late than never! As I think more about the direction of this label, I am interested in supporting and promoting women. We have come a long way but still have a long way to go in today’s world. Are you aware of the challenges woman face in the maledominated field of music?

Yes, I am aware of the challenges that women face, but it was never my focus. I just keep going, surrounding myself with good people and role models. Never go into this or any industry without people you can trust. If I have any advice for women, or anyone it is to follow your instincts and don’t be afraid to take risks. What advice do you have for younger person entering the world of literature or music performance? There are a lot of talented people out there, it is important to continue to reinvent yourself so that people remember you. Market what you have and seek out good representation! That is the way to go! Doing it yourself is just difficult, not impossible, but definitely difficult. photo by: Jan-Rasmus Lippels

www.janice-harrington.com The Great Grand Ma Jan

Dr. Nancy Dome, Co-Founder & CEO Epoch Education, Inc. Author - Speaker - Consultant “Life is not measured by the number of breaths you take, but by the moments that take your breath away”

858-334-5260 | drnancydome@gmail.com | www.drnancydome.com

https://www.amazon.com/Lets-Talk-About-Other-Things-ebook/dp/B09NXQP2XX

R E NG

I S A

N N DO

south florida

since 2007

DONNA SINGER LIFETIME MEMBER

Donna Singer, Jazz Artiste Extraordinaire By Junn Pato-Ryan

For over twenty years, Donna has captivated jazz enthusiasts in America and around the world through her albums and performances. Whether accompanied by her 18-piece big band, The Diamond Jazz Orchestra, the 80-piece Gold Coast Concert Band, or an intimate trio, Donna Singer delivers a powerhouse show that excites the audience with her soulful rendition of jazz favorites. How did you first come to music? Donna was born in the Bronx, NY, and raised by jazz-loving parents. The Cooper siblings, Donna, her twin sister, Dawn, older brother Donald, and sister Teresa, grew up jamming to the beats and timbre of Nancy Wilson, Billy Strayhorn, Sammy Davis, Jr., and Count Basie. These great jazz artists were Donna’s compass as she navigated her musicality at a young age. Her piano teacher recognized that she had an ear for hearing the melody and rhythm. After high school graduation, Donna’s musical dedication led her to the New York Academy of Theatrical Arts and Juilliard’s School of Music for her mastery of the music closest to her heart. Jazz lived in the hidden towns of the Catskills Mountain, where Donna and her equally gifted husband, composer and pianist Roy Singer, gathered a band of jazz-loving musicians. Donna enlivened the community with spectacular performances. At the same time, she inspired younger generations through Dr. Donna’s School of Song, helping musicians and vocal artists hone their skills

and find their voice through music. Since 2006, she was a member of The National Guild of Piano Teachers, a division of the American College of Musicians. From 1998 to 2004 she hosted the weekly gospel show, “Down by the River” on WJFF FM, in Sullivan County, NY. If you could inspire a movement to bring the highest good to the most people, what would that be? I would like to inspire and spread peace and love and motivate people to have tolerance of and respect for one another. What is your favorite “Life Lesson Quote”? “Choose joy!” is my absolute favorite life lesson quote. Donna has performed in the U.S.A. in renowned concert halls in New York City and Florida, and across the Atlantic in Ireland, Italy, France, Switzerland. This summer, she will perform in London, UK. While she showcases her love for jazz and gospel, children’s songs, and holiday tunes, capturing audiences worldwide, Donna firmly believes that “featuring diverse music and artists allows the audience to experience new discoveries in music and shift cultural attitudes and beliefs towards greater acceptance and inclusivity.” Do you have a music publishing company or record label? In 2011, Donna became a recording executive with her record label, Emerald Baby Recording Company, LLC, and music publishing company, D4E Music Love Company. Early in

her music career, she discovered the importance of managing and marketing her art. To date, Donna’s company has produced charted albums, successfully, with eight albums and four singles. Her original songs topped the Roots Music Report charts and the NCAA: College and NPR radio stations. Do you compose your own music? Donna’s life partner, Roy Singer, is a pianist and the composer. A recent tune, Santa Plays the Bass, placed #2 on the charts this past Christmas. This song was a collaboration with lyricist Mitchell Uscher. The team’s most recent song, Go and Seek the Light, hit the airwaves and streaming stations on March 1, 2023. What advice do you have for a younger person entering the world of music performance? Donna wishes to impart four self-discoveries that she learned through her walk on the yellow brick road of jazz: • Always believe in yourself, follow your dreams, take a step forward, and face challenges. Success is never achieved overnight. Love your talent but have the confidence, work hard, and persevere. • Learn the business aspects of your craft. Talent is honed, but you must manage and market your craft. You have to understand the nitty-gritty and what is in-between the lines. • Always and forever stay true to yourself, do not chase trends that do not match up

Donna Singer, Jazz Artiste Extraordinaire By Junn Pato-Ryan (con’t)

with what is in your heart. I wish someone had told me to stay true to myself and my unique sound. It’s important to create music you can feel as an artist and to avoid chasing after trends that are not your style. • Never give up. Keep learning and sharing with others. Pay it forward. Never forget why you are a musician and always remember you do this for love. As a successful singer, recording artist, and a mentor for aspiring artists in this ever-so-challenging but beautiful world of music, Donna Singer’s ultimate message is to “love your voice and be true to your sound.”

Choose Joy!

Junn Pato-Ryan

A creative weaver of narratives. A 9 to 5-er for far too long but hopes to change her story to one she loves to do the most.

Donna Singer Jazz Artiste Extraordinaire

A graduate of the New York Academy of Theatrical Arts, with formal studies at Juilliard.

SWING JAZZ

# for 9 WEEKS

In 6 months she’s released Dance Band Boogie, her swing, jazz CD. Santa Plays The Bass which soared to #1 on the Roots Music Report Holiday Jazz Chart and now Go and Seek the Light an inspiring song composed by her husband Roy Singer and lyricist Mitchell Usher. Her concert appearances include Paris, Switzerland, Ireland, Italy, Lincoln Center and Carnegie Hall. This summer she will be in the UK, singing in Oxford, London and Stratford-on-Avon. Donna’s at home performing with just piano or guitar, or jazz quartet, to the 80-piece Gold Coast Concert Band. or her 18-piece big band The Diamond Jazz Orchestra. Producer/Performer of the Joyful Journey Music Festival, in West Palm Beach. IG drdonnasinger FB donna.singer.7370 E-MAIL drdonnasinger@gmail.com WEB http://donna-singer.com

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G N I EK

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south florida

since 2007

MEMBER

Denise King, Vocalist by Yanina Carter

Where were you the first time you heard music? The first time I heard music was growing up in West Philadelphia. We listened to everything R&B, Soul, and Gospel. In the late 1960’s, I was a part of the desegregation program. We were bussed to Woodrow Wilson Jr. High School, in the far Northeast. There were only 10 Black kids that went to the school. That’s how I was exposed to the groups, The Nazz and Strawberry Alarm Clock. That’s when I was exposed to Jazz. I was 13. My Uncle, Herbert Tatum, had a massive Jazz collection. I discovered Lee Morgan and The Sidewinder, the first Jazz recording that I heard. My cousin introduced me to Nina Simone’s music. I found Sarah Vaughn by listening to one of the many Jazz stations in Philadelphia - WHAT, WRTI, and WDAS. That’s where I discovered a wide variety of musicians and singers. I learned most of the lyrics to songs, listening to Frank Sinatra. Every week, it was Fridays with Frank and Sundays with Sinatra. I listened to Sid Mark on WHAT 1340 AM. I didn’t realize that was school. My father was a want-to-be drummer, so he got my brothers into drumming. Max Roach was one of my father’s friends. Music was in my genes. My mother sang in the choir and my aunt played the piano. Do you compose? How many songs have you composed and published? Are they in a book?

I do compose. I’m a lyricist, primarily. I sing the melody on a recorder and a pianist writes it out for me. I find words and then get help with the music. I just completed 10 songs, co-written with a composer in France, Joseph Langley. I have 18 to 20 songs composed or published. I’m working on other songs. Everything I wrote or co-wrote is not in a book, but some of the songs are recorded. Do you have a music publishing company? Are you with BMI or ASCAP or another royalty collection agency? I belong to SACEM and the ADAMI, both in France. I have written with composer Steve Rice. We just had a song picked up by an Australian Soap Opera. That’s pretty exciting. Are you aware of the challenges women face in the male-dominated field of music? Absolutely! Women are still fighting an uphill battle. We fight every day to be taken seriously as artists. The level of respect is not where it should be. Inclusion of women in many festivals is rare. Singers are more likely to be invited to festivals, but female musicians struggle for that placement. Things have changed but more should and could be done. It’s nice to see that some promoters are offering gigs to women in Jazz festivals or series. That’s a big step towards women being included and more visible. Do you work with women musicians? Whenever possible, I do include women, but I work with men,

primarily. When I’m traveling, I connect with a band in that place. I would like to have an all-female band, one day. When I am touring, they plug me into bands already in place. Flying a band from the U.S. is expensive. Many promoters will not do it. When I’m producing a show, I hire women. I like to have a woman on my bandstand as often as I can. But Jazz is definitely a male-dominated field. What advice do you have for a young person entering the world of music? Listen to music from different genres. Find a seasoned musician for mentorship. While their formal education may come from academia, furthering what they’ve learned will come from the bandstand. Sit in at jam sessions, learn the etiquette of the stage and make this your passion. Sometimes, I think young musicians are not getting vital information about their craft. They should leave the attitude and ego at the door. Be great, but remain humble, and learn as much as they can. They need to be able to play different types of music. Like me, I learned Jazz. It is my forte. That is what I do. But if I get the call to do R&B or Gospel, I can do it. Versatility makes you more marketable. What lies in the future? I have so much that I’m working on with touring, learning new music, and composing more. Through my non-profit, Hope and Healing Community Arts Project, I will produce more community-based

Denise King, Vocalist by Yanina Carter (con’t)

concerts. Everyone should have access to music, art, and cultural events. In today’s climate, music can change or save a life. During the summer, I will do some performances in Europe. My Jingle Bell Jam and Toy Drive starts around Thanksgiving and ends near Christmas with The

Jingle Bell Jam session. The Toy Drive helps people who run into problems and cannot provide toys for their children. I’ve been there. So, I help to remove negative feelings they have about being unable to give a gift. We provide something that they can give their children for the holiday. Last year, we expanded to include socks, coats, and pajamas for adults.

We finish with a big Jazz concert. I distribute the items to four organizations that I adopted and that is how I close out the year with a Bang Gig! photo courtesy of www.denisekingsings

Yanina Carter

MUSICWOMAN RADIO 2023

Since 2008, MUSICWOMAN Radio with host Diva Joan Cartwright (Diva JC) features women who compose and perform their own music and men who support them. Music, the sound of the shperes, begins in the womb! ~ Diva JC Call in on (515) 602-9603, hit #1 to talk to the host www.blogtalkradio.com/musicwoman

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R U Z M 18

E Y A MB south florida

since 2007

MEMBER

Mzuri Moyo Aimbaye by Penelope Jamila

I will never forget that special evening at a housewarming in Hollywood, Florida. The atmosphere was congenial and warm. What happened was unbelievable! The floors started shaking like an earthquake! The ceiling and the roof of the home ripped away from the foundation! The walls bulged and burst outward! Champagne glasses cracked in everyone’s hand! It was not an earthquake! It was Mzuri’s voice bellowing from the depths of generations, through her soul! Mzuri’s voice released a deep, rich, sweet melody, while embracing her vocal cords, caressing her lungs, and landing, gently, on our ears! Mzuri’s voice captivated our attention. Her tongue and lips graced and defined each word and note. The quality of her tone reached deep into everyone’s heart! It was this voice that mesmerized the guests on that memorable day! ~ Penelope Jamila

Where were you when you heard music for the first time in your life? My mom told me I was in a highchair singing! Both of my parents were born in South Carolina. Mom was raised in West Virginia and Dad was raised in Florida. It was destined for them to meet and marry in New Jersey. I was raised in the 1970’s and I heard all the great music that inspired me to sing! My cousin’s boyfriend, Bunny Siegler, was a fantastic writer and singer. These were my earlier influences with music. Do you compose? If so, how many songs have you composed and published? Are they in a book?

I have not composed an entire song, but I collaborated on a couple of songs. Are you with BMI or ASCAP or another royalty collective Agency? No, I am not affiliated. During your search for recognition with your golden voice, were you aware of the challenges women face in the male dominated music industry?

Yes, I am aware. When I started in the business, some men made sexual advances towards me.

Once I found myself in a building for an audition, alone. The man started making sexual advances. Immediately, I ran out of the audition without my coat in the dead of winter. The other challenge was making enough money in my nursing career to fund my projects to make it possible for me to reach my professional goals as a vocalist, while maintaining my dignity. Do you work with women musicians? Yes, now, I am working with Gwen Wahman, a female jazz pianist. But I have not worked with many female musicians in the past. I am looking forward to this new adventure. What advice do you have for younger people entering the world of literature performance? Find an older musician and let them mentor you. Stay close to them. Study music and, if possible, get a music degree. Write and get your music published and join the Music Union. Listen to recordings from older musicians. (photo by: Michael Carins)

Penelope Jamila Alleyne

S K C I R D

N E H LE

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south florida

since 2007

MEMBER

Michele Hendricks, Vocalist by Dr. Joan Cartwright

JC: Michele, where do you live? MH: I live 14 kilometers northwest of Paris, in Sannois, France JC: How did you first come to music? MH: I have always been singing. From a very young age, I took violin lessons to the horror of people around me. I sang in the junior choir at church, the glee club at school, the city choirs, and regional choirs. I love harmonies. I get goose bumps everywhere, when I am singing harmonies. So, I was always singing. At 8 years old, I asked my father to let me sing the Lambert, Hendricks & Bavan version of Frank Foster’s Shiny Stockings. I listened to that 50 million times, until I had that solo down. And I begged him to let me sing it. So, finally, one night, he said, “OK, you’re going to come to the gig and sing.” I got onstage and it was the first time I was in front of a big crowd like that. So, I freaked out and started crying. Eventually, the music was playing, and I started singing the song along and I got through it. I will never forget that first experience of seeing everybody look at me. I studied dance for six years. I wanted to be a musical comedy singer-dancer. My goal was to play Anita in West Side Story. I never did, though. JC: Your mother & father sang together? MH: No, my mother was Colleen Moore. She was a singer, but she didn’t sing with my father. Judith Dickstein is his second wife. She started singing with my father, after the night I sang with my father at 8 years old. My parents divorced when I was four. JC: Did you study music theory? MH: Much later, as an adult, I studied solfége in self-defense?

JC: In self-defense? MH: Yes, because I couldn’t communicate with the musicians as precisely as I wanted to. The musicians would dismiss me because I didn’t know how to read and write music. I was just a singer. But I was very specific about what I wanted. I would show them the arrangements. I wanted a break here, and this kind of bassline, here. But I had to sing everything to them, and they would get very frustrated and flustered. So, I decided to learn music theory, so I could write my own arrangements. JC: Did you study before college or in college? MH: When I was very little, 7 or 8, I took piano lessons. I wasn’t very serious about it but I learned the basics, notes, staff, and intervals. Of course, I forgot most of it as an adult. JC: What’s your birthday? MH: September 27, 1953 JC: Where did you attend college? MH: One was south of San Francisco. The other was The College of Marin in Corte Madera on the other side of the Golden Gate Bridge. I was there for two years studying music. I met friends studying music. The universities didn’t have any jazz. It was all classical. So, we formed a group, met once a week, and worked on arrangements. We got some gigs. That’s when I sang away from my father. We did little passthe-hat gigs. My first paying gig was at a pizzeria with the group. We got paid $7 dollars each and a slice of pizza. We were so proud to be paid. That’s when I branched away from my father to sing on my own. JC: What was the name of the group? MH: Chelsea JC: Who was in the group?

MH: I was roommate’s with Lisa Goulder, the pianist. I just said Happy Birthday to her a couple of weeks ago. She sang, too, so we did harmonies together. JC: Do you write music? MH: Yes, I’ve written about 20 songs. I’m with ASCAP in the states and SACEM in France. My publishing company is Shellrose Music. JC: Have you thought about putting your songs in a book? MH: No. I have the lead sheets that I made to copyright my songs. JC: I published my books at www.lulu. com/spotlight/joancartwright. This is my mission to get women to document their music in a book. I will help you to do that. Do you play piano? MH: I use the piano for composing and arranging. I can pluck out some chords. But I do not play professionally. JC: Are you aware of the challenges that women musicians face in the music industry? MH: A little. I have several women musician friends who tell their stories. A lot of the challenges come from fellow musicians. It’s not about convincing organizers and promoters to hire you. But being hit on and belittled by the other musicians, constantly, is a problem. I’ve heard some stories and I said, “What? He did not!” and she said, “Oh, yes, he did!” JC: You live in France, but where are you from, originally? MH: I’m from New York. I was born in the Bronx. JC: You’re married to a Frenchman. What’s his name? MH: Pierre JC: Of course! Pierre what? MH: Pierre Bornard. We got married in 1992, and we have two children. JC: Is he a musician? MH: He retired from being a sound

Michele Hendricks, Vocalist by Dr. Joan Cartwright (con’t)

engineer for Radio France. He sings with a vocal group, Jocalizz. He plays vibraphone and percussion. He’s a huge jazz fan and sings along with all the solos on CDs. JC: Your children? MH: My daughter, Azaria is studying at Les Beaux Art in Nantes, in Brittany. My son, Daniel, is a video game designer. JC: You sang a long time before you got married, right? Who did you work with? MH: There’s a video of me with Benny Carter’s Big Band. I was at the Mt. Fuji Jazz Festival a few times. I sat in with a lot of my parents’ friends. I didn’t appreciate it then. So, I don’t remember them all. I remember singing with Benny Carter, Buddy Rich, Stan Getz, Bobby McFerrin, Art Blakey & The Jazz Messengers, Benny Golson, Benny Green, Tommy Flanagan, George Adams and Don Pullen, Count Basie, and Kurt Elling. I sang at clubs like Ronnie Scott’s in London. French musicians I performed with included Arnaud Mattei and Edison Knight on piano, Bruno Rousselet on bass, Philippe Soirat on drums, and Olivier Temime on sax. JC: Who are your working with now? MH: I have a group of musicians here that I have been working with for 25 years. The band members were Lisa Goulder-piano, Donald Maus or Chuck Sher on bass. When Chuck Sher developed carpel tunnel syndrome and could no longer play, he was so sick of incorrect fake books, he published CORRECT fake books and the New Real Fake Book series for which the music world is forever grateful! We had Kevin Hayes on drums, and either Ray Scott or Chris Hayes on guitar. Chris left Chelsea to join

Huey Lewis and the News. There was Jimmy Nadel on sax and David Watson was another singer. JC: What was you most exciting moment in music? MH: When I first met Bobby McFerrin, he blew me away, right from the get-go! This was before he was known. I was in an afternoon jam session in San Francisco and this guy walk up on the stage and did Misty in a medium swing, and he killed it! So, I was like, “WOW, Who is this?” I told my father to come see him, but he never would. Finally, my father heard Bobby at his gig. We were in San Francisco on a Friday. The following Tuesday, we were working at Sweet Basil’s or Fat Tuesday’s in New York. My brother left the group on Friday out and we needed a replacement. I said, “Call Bobby!” He flew out. For the next two days, I was singing his part, typing out the lyrics, and going through it with him. We opened on Tuesday, and he knew the whole repertoire in three days. I could not believe it! He is a musical genius. He worked with the group for almost a year. I was so impressed with the a cappella thing that he was developing. There’s nobody like him. JC: What is your advice for a young woman coming into the music industry? MH: Be strong! Do not be intimidated. If you have shortcomings and you are dismissed because of it, do something about it. That’s why I learned music theory so I could write my own charts, arrangements, and songs. Know your craft, especially if you’re a singer. There are so many Bad Singer Jokes out there. They don’t know when to come in. They don’t know their key or tempo. A musician wouldn’t last

without knowing those things. So, what makes a singer think that they can without knowing music? Ray Drummond was a bass player in San Francisco, who was on my first three CDs. He had a gig in New York and invited me to sit in. I called Honeysuckle Rose in Bb. They started the intro, but it wasn’t right. I asked if they were in Bb. They said, “Oh, we thought you said Eb!” After the set, Ray said, “We knew you called Bb. We played it in another key to test you. You passed the test! You know what you’re doing, Girl!” JC: You will receive a membership letter, stating that you are a lifetime member as a gift from Eldred Ellis, our Champion! Be sure to read the monthly newsletter, which is a video and slides. It comes in email, but you have to click the links for the full newsletter. MH: Eldred is a good soul! JC: He is one of our strongest supporters and we appreciate him so much, especially, since he brought us YOU!

DISCOGRAPHY Another Side (Cristal Records, 2019) A Little Bit of Ella (Cristal Records, 2015) (Now & Then) with the Tommy Flanagan Trio, Peter Washington on bass, and Lewis Nash on drums Carryin’ On (Muse, 1987) Keepin’ Me Satisfied (Muse, 1988) Me and My Shadow (Muse, 1993) Santa’s Bag Telarc, 1994) Jazz Christmas compilation with my composition, Blue Christmas

Benefits of a WIJSF Membership WIJSF connects musicians. A member and songwriter was seeking a piano player in her area. Through WIJSF she met a piano player and they worked on 3 new songs. Membership provides you with a database of exceptional professional women in jazz. Your $60 annual dues comes with a subscription to Musicwoman Magazine. Go to http://www. wijsf.com/join.htm

Women in Jazz

South florida Since 2007

You are a woman that composes, performs, produces music or you enjoy women musicians in concert. You're a perfect candidate for membership in our organization that promotes women musicians, globally. Membership is $60 annually and benefits include:

• • • • • • •

Listing on www.wijsf.com/musicians.htm or www.wijsf.com/members.htm Announcements and events in www.wijsf.com/newsletter/newsletter.htm Submit a song to compilation CD distributed to Radio DJs www.wijsf.com/compcds.htm Features, articles, and discounted ads in MUSICWOMAN/MUSICMAN Magazine (2023) Interviews on MUSICWOMAN RADIO www.wijsf.com/radio.htm Affiliations: Donne in Musica in Rome, Women in Jazz in Serbia, and instrumental Women Association with women musicians, worldwide Connection with the South Florida Jazz List

Greetings from our board members!

Thanks for all of your support in our mission to promote women musicians, globally!

Dr. Joan Cartwright, Founder/Director, Editor-in-Chief

wijsf@yahoo.com 954-740-3398 23

S S O R ONA

south florida

since 2007

MEMBER

Fiona Ross and Women in Jazz Media Named among the 100 Alternative Power Music List for 2020, multiaward-winning jazz artist, editorin-chief, journalist, and founder of the award-winning Women in Jazz Media organisation, Fiona Ross never stops. As a vocalist, pianist, composer, and producer, Fiona created her own contemporary jazz sound, incorporating fast-paced Latin Jazz, vintage Jazz club, a little neo soul, along with heart-wrenching ballads. She came to the world’s attention as the artist that gave Ed Sheeran his first push. But, very quickly, Fiona established herself as an artist in her own right and has received incredible reviews and awards across the globe, for her seven albums. As a journalist, Fiona writes for publications, including Jazz in Europe Kind of Jazz, Jazz North, and The Jazz UK, Connects Music. She was the guest Editor-in-Chief for the January 2021 edition of Jazz Quarterly, where she was responsible for a rarely seen fully diverse and gender balanced Jazz publication. [Kudos from this editor!] Also, Fiona is senior writer for Jazz in Europe, having interviewed an impressive list of inspirational artists like Rickie Lee Jones, Steve Gadd, Michel Camilo, Kyle Eastwood, Dee Dee Bridgewater, Maxine Gordon, Terri Lyne Carrington, Barbara Thompson OBE, Ruby Turner, Hiromi, and Camille Thurman. She is the founder of the groundbreaking organization, Women in Jazz Media, and developed exciting initiatives to support and platform women, including mentoring schemes for new female writers, a

free music promotional package for women working in jazz, five podcast series, and working with venues to platform women at a range of venues and the London Jazz Festival. She is the Editor-in-Chief of the highly regarded quarterly, Women in Jazz Media Magazine, creating a platform for women working in Jazz across the world that is read by thousands, globally. Through Women in Jazz Media, Fiona collaborates with many official partners, including JazzTimes, Jazzwise, Jazz in Europe, Black Lives in Music, and Céline Peterson. Fiona’s work with these partners led to an increase in the gender and diversity balance in several publications. Fiona’s interviews for Women in Jazz Media include Celine Peterson, Hiromi, Jordannah Elizabeth, and Dr. Tammy Kernodle. Fiona’s work facilitated the inclusion of the first female photographers in the National Jazz Archive – Tatiana Gorilovsky and Monika S. Jakubowska, making history. Her new mentoring scheme, More Than A Few of Us, developed to address the lack of black jazz journalists around the world. In partnership with Black Lives in Music, Fiona is hopeful that Women in Jazz Media will change history again. How did you first come to music? Since birth, like us all, I think! I started piano lessons when I was six, and it has been part of my life ever since. I started performing when I was very young, although I started my career as a jazz artist about seven years ago, while working in other roles in the creative industry. Do you compose? If so, how many songs have you composed and published?

I write and arrange my own material. My recent album brings me to 79 songs that I have published. I composed other works, including the score for the musical Famous and Forgotten and some other works that were never published, when I was much younger. Do you have a music publishing company? I work with the PRS and Kobalt in the UK and ASCAP in the US. Are you aware of the challenges woman face in the male-dominated field of music? Yes, that is one of the reasons I joined this Women in Jazz South Florida. I support anyone who creates change to make the world a fairer place. I founded the Women in Jazz Media to navigate these challenges facing women musicians. We develop strategies to remove the barriers in the Jazz industry, in front of and behind the scenes.

What advice do you have for a young person entering the world of literature or music performance? Work hard, know your craft, and be the best you can be. Be kind and generous, and know you are part of an incredible, supportive community. Be fearless in your pursuit and be true to who you are. (photo by Steven Tiller LS)

The fact that the public sees her and applauds her is her best reward. So confesses Yeny Silvia Dalmau Brindis, a Cuban woman to whom music and dance run “like blood in my veins,” she says. “You leave this world, and you don’t get a piece of paper or a medal. But if you manage to remain in people’s memories because of what you did in your life, that’s the greatest thing”, according to Yeny, who was born in Havana on November 3, 1961. She grew up in a popular neighborhood, La Lisa, in the capital’s Marianao municipality. Her personality fits her zodiac sign - Scorpio, because she practices honesty, she is demanding, she tends to control situations, and she is self-taught. The seasoned vocalist comes from the school of art instructors, but she never dedicated herself to teaching. She said, “I always wanted to sing and dance.” That’s how she opened the way. “I wanted to show my art to the world. That’s why I never had children. When I was almost 40 years old, motherhood became impossible. But I have nephews,” she said.

How do you define yourself? I’m a woman who sings.

During her artistic career of 46 years, she traveled to Spain, Japan, Mexico, Austria, Switzerland, Germany, Argentina, and Nicaragua, with several companies. She was the first dancer in the folkloric group Raíces Profundas. Later on, she was in the AfroCuban group Clave y Guaguancó, and the popular groups Cuban Salsa, Cubanaché, Raíces Sonoras, and Las Chicas del Sol.

A DIS I V IL IN S R Y B N U E Y A M L A 26

She has appeared in the Cuban film, Miel para Oshún (Honey for Oshún) (2001), directed by the late Humberto Solás. But “singing is definitely my thing, although I was a good dancer, since in 1979,” she said. Today, Yeny Silvia is a retired woman. “We dancers have a limited life, just like athletes. I retired from dancing, but I will never retire. That will only happen when I die”, she explained. She stopped dancing 10 years ago. Now, she dedicates herself to singing.

Yeny Silvia Dalmau Brindis, Vocalist By Deisy Francis Mexidor

Where does this love for music come from? I don’t know. It’s in my DNA. I’m related through my maternal grandfather to the Cuban violinist José Domingo Brindis de Salas*. My love for music had to come from him. So, you are self-taught? Yes. I studied pedagogy to teach art, but my musical training was inherent. I knew I would be an artist. I studied at the National School of Dance Instructors, in the 1970s, but I did not graduate. I did not want to be in a classroom teaching. I wanted to be onstage, being applauded by the public. When I was nine years old, the principal invited me to perform at civic events. They applauded me and I liked that. So, is it in my DNA

or did God give me this talent? How do you define yourself? I’m a woman who sings. What is your greatest fortune? To have achieved what I need to live with dignity. To be healthy because, thanks to God, I am a healthy woman, which allows me to do what I love, which is my art. Currently, I work with three groups, the National Folkloric Choir of Cuba, Rumba All Star, and Cubanaché. Are you aware of the challenges women face in the male-dominated field of music? Of course. It is a challenge. But we are in the 21st century. It’s time we all know that we are equal women and men, in knowledge, virtuosity, professionalism, since shining in certain fields is not reserved for

one gender. Are you linked to any artistic enterprise in Cuba? I belong to the Empresa Comercializadora de la Música y los Espectáculos “Ignacio Piñeiro”, the Agencia de Representaciones Artísticas Caricatos, the Centro Nacional de Música Popular, and the Agencia Artística de Artes Escénicas (Actuar). What advice would you give to young people starting out in the world of literature or musical performance? Develop the strength to push your dreams through discipline and have the will to fulfill them, professionally.

Yeny Silvia Dalmau Brindis, Vocalist (Spanish)

Que el público la vea y le aplauda es su mejor premio. Así confiesa Yeny Silvia Dalmau Brindis, una cubana a quien la música y el baile le corre “como sangre en las venas”. Comenta: Uno se va de este mundo y no se lleva ni papel, o ninguna una medalla, pero si logras quedar en la memoria de la gente por lo que hiciste al paso de la vida, lograste lo más grande. Nació en La Habana el 3 de noviembre de 1961. Se crio en un barrio popular, La Lisa, en el municipio capitalino de Marianao, y su personalidad se ajusta al signo zodiacal que la acompaña: Escorpión, practica la honestidad, es exigente, suele controlar situaciones y es autodidacta. Dalmau proviene de las escuelas de instructores de arte, pero nunca se dedicó a la enseñanza “porque siempre quiso cantar y bailar” y de esa manera fue abriéndose el camino. Dalmau quería demostrar su arte por el mundo y por eso nunca tuvo hijos, ya cuando vino a percatarse tenía casi 40 años. Expresa que ya era imposible la maternidad, por lo menos tiene sobrinos . Durante su 46 años de su carrera artística, viajó a países como España, Japón, México, Austria, Suiza, Alemania, Argentina, Nicaragua, entre otros, y perteneció a varias compañías como el conjunto folklórico Raíces Profundas, del cual fue la primera bailarina. “Después pasé por el grupo de música afrocubana Clave y Guaguancó, y también los de música popular Cuban Salsa, Cubanaché, Raíces Sonoras, Las Chicas del Sol…”, relata. Además, cuenta con apariciones en películas cubanas como Miel para Oshún -del desaparecido director Humberto Solás-, estrenada en el 2001. Pero “definitivamente lo mío es cantar, aunque siempre fui muy buena bailarina, modestia aparte, en 1979 ya estaba bailando”, afirma. Actualmente Yeny Silvia es una mujer jubilada, “porque los bailarines tienen tiempo limitada al igual que los deportistas. Se jubilé, pero retirada nunca, eso solo sucederá cuando muera”, explica al aclarar que “hace unos 10 años dejé de bailar oficialmente y en este momento se dedica al canto.”

Yeny Silvia Dalmau, Vocalist Por Deisy Francis Mexidor

¿De dónde le viene este amor por la música? Actualmente Yeny Silvia es una mujer jubilada, “porque los bailarines tienen tiempo limitada al igual que los deportistas. Se jubilé, pero retirada nunca, eso solo sucederá cuando muera”, explica al aclarar que “hace unos 10 años dejé de bailar oficialmente y en este momento se dedica al canto.” ¿De dónde le viene este amor por la música? No sé si eso está en mi ADN. Soy familia por la línea de mi abuelo materno de ese gran violinista cubano que fue José Domingo Brindis de Salas (*). Tiene que venir de ahí. ¿Entonces tu formación en sentido general es autodidacta? Sí, porque yo lo que estudié fue la pedagogía para enseñar el arte, pero mi formación ya se creo en mi . Yo sabía que sería artista.

Estudié en la Escuela Nacional de Instructores de Danza, en los años ‘70 (del pasado siglo) y abandoné la escuela sin graduarme, porque mi decisión era dedicarme a estar no en una haula o en un salón impartiendo clases, sino sobre las tarimas para traerle lo mejor al público y sentir sus aplausos. Recuerdo que, siendo una niña,

con apenas nueve años, siempre la directora de mi escuela me buscaba para hacer actos cívicos. Yo actuaba y el publico me recibió con aplausos y eso me hacía sentir feliz. Por eso digo, no sé si es mi ADN o Dios me lo dio. Puede ser los dos.

¿Cómo se define? Soy una mujer que le gusta cantar. ¿Cuál es su mayor fortuna? Haber logrado lo necesario para vivir dignamente. Tener salud, porque gracias a Dios soy una mujer saludable y eso me ha permitido hacer lo que quiero con mi arte. Actualmente trabajo con tres agrupaciones: el Coro Folclórico Nacional de Cuba, Rumba All Star y Cubanaché. ¿Eres consciente de los retos a los que se enfrentan las mujeres en el campo de la música, dominado por los hombres? Por supuesto. Es un desafío, pero estamos en el siglo XXI. Es hora que todos seamos tratado por igual hombre o mujer, En el conocimiento, en virtuosidad, en profesionalismo, y brillar en determinados campos pues no

está reservado a un solo género. ¿Está vinculada en Cuba o en alguna empresa artística? Sí. Pertenezco a la Empresa Comercializadora de la Música y los Espectáculos “Ignacio Piñeiro”, la Agencia de representaciones Artísticas Caricatos, el Centro Nacional de Música Popular y la Agencia Artística de Artes Escénicas (Actuacion). ¿Qué consejo daría a los jóvenes que se inician en el mundo de la literatura o la interpretación musical?

Fuerza para empujar sus sueños; disciplina, profesionalismo, y voluntad para cumplirlos, . *Claudio José Domingo Brindis de Salas y Garrido (La Habana, 4 de agosto de 1853 - Buenos Aires, 1 de junio de 1911) fue un músico y violinista cubano que ganó el sobrenombre de “Paganini negro”; considerado uno de los mejores de su época, también lo llamaron “El rey de las octavas”.

Bassist Sibongile Buda South Africa Founder of Jazz Camp for Female Instrumentalists MAMELODI

Talent

Spotlight

ADRIANA HERRERA FUENTES

Adriana Herrera Fuentes is an artistic and events producer, musical talents coordinator, host of Casa La Realidad and creator and producer of the Occasus Project. A graduate from Accounting and Finance at the University of Havana, she began as an artistic representative of Raul Torres and his group in 2015. she organized and produced with this artist concerts, audiovisuals, festivals, recordings and album presentations, and national tours like Nítida Fe and Los Agradecidos with Mtro. Pérez Mesa and the National Symphony Orchestra of Cuba (OSNC), the latter with a special presentation in the Dominican Republic. She produced events at the Barbaram Cultural Center with different musical genres and leading artists. She creates, directs, and produces the Candilejas space in this center with presentations by soloists and groups led by women. Since 2017, her independent artistic productions included various artists, including Leyanis Valdés, Kumar, Telmary Díaz, Janet Valdés, Raciell García, Sekou, Yrak, Brenda Navarrete, and Proyecto Somos for concerts, television programs, audiovisuals, and festivals like Havana World Music, Fiesta Aliñao, and Gibara International Film Festival. Fuentes has presented new artists and musical projects at the Eyeife Festival, since 2018. Within the framework of the international event, CubaDisco 2016, she produced the Symphonic Bossa Nova Jazz Quintet with Mtro. Jeremy Fox, Mtro, Perez Mesa, Rosa Max, and Raúl Torres were accompanied by the OSNC and, in 2019, she produced the group Caracoles from Spain. She has cooperated in the Jazz Plaza Festival, since 2019, highlighting, the special collaboration and production of the presentation of Caleño (FrancoColombian) at the Cuban Art Factory in 2023. Fuentes creates and produces different artistic events at the Hostal Casa La Realidad and in women’s enterprises like Malecón663 that enhances the position of women within culture by working with different artistic expressions and national and international figures through the Occasus Project.

IG @adriana_producer @occasus_paginaoficial FB Adriana Herrera E-MAIL adrianahf.producciones@gmail.com

t n e l a T tlight o p S

YUDIANIS QUINTANA CHANGUITA Conga Player, Havana, Cuba

Yudianis Quintana González is Sounding the Leathers by Deisy Francis Mexidor

With Yudianis Quintana González, the saying “son of a cat catches a mouse” is true. Her father, José Luis Quintana, known as Changuito in the music world, is one of the most outstanding Cuban percussionists and Yudianis followed in his footsteps. Yudianis admitted that “I was forged as a percussionist by my father. Although he told me that it could not be because it was necessary to have strong hands, my mother said, yes, women can!” On August 27, 1977, Yudianis was born in the lively City of Colón, in Matanzas, a province located 100 kilometers east of Havana. “I had a happy childhood. That’s where my parents met and maintained their marriage for 42 years, until Mom died in 2021. I was very young, when my father moved us to the capital,” she remembered. Today, Yudi is called La Changuita. She began her music studies at 13, at a conservatory in Havana. She did not finish the elementary level, however. “When I turned 17 years, I went on my first international tour.” She traveled to Saudi Arabia with the group Habana Son and returned to Cuba. Later, she worked in the United Kingdom, China, Japan, and was part of a female quartet in India. She was a member of the Anacaona Orchestra. With this popular allfemale Cuban ensemble, Yudianis has performed in Italy, Canada, and Martinique. She is featured at Havana’s jazz festivals, regularly. However, she contends that, “It’s a world dominated by men! It’s true. A lot of machismo told me “you play as macho*.” But, she said, “No, I play like a woman

with enough strength to make the leather ring.” There has always been this machismo that says that women can’t play because the instrument is too strong. But women can do anything. We overcome it. Do you feel discrimination, when they say, “You play as macho?” Of course! I don’t play as macho, I play as a woman, but something is inside of me. I carry it with me, and I like it. If I don’t play for a day, I don’t live. That’s my adrenaline. In fact, my father insists that he taught me and that he is very proud of me. What wish would La Changuita like to fulfill? I’m 45 years old and I have more than 30 years of artistic life. I want to continue singing and playing percussion, so that the public appreciates my art, here and everywhere. One wish I would like to fulfill is to bring all the women percussionists together in a big show. Another wish is to create a school of percussion for Women Only. What defines you? My great strength has allowed me to overcome many problems and keep going. I never give up. Do you consider yourself a fulfilled woman? Yes, I am fulfilled with my instrument. Sometimes, due to circumstances that life throws at you, you have to stop. The health situation that my father faced caused me to retire for a year. But I came back. Recently, I have embraced Yoruba chanting that prepares me for whatever comes. At all times, my dad has been here.

I love my father. He is a super percussionist. He is a master and has traveled the world. At the moment, he has an amputated leg, but he said his hands have not been amputated. Many critics say that he squeezes the tumbadoras (stainless steel ‘street’ drums) to get the best rhythms out of them. He was a teacher of distinguished percussionists Giovanni Hidalgo, Kart Perazz, and Patricio “El Chino” Díaz. With the late Juan Formell, my father founded the notable orchestra, Los Van Van, in 1970. Throughout his career, which I could not summarize in the limited space of answering a question, he was nominated for a Grammy in 1996. In 1998, he won the Grammy for his participation in the CD, Habana. In 2001, he wone for the CD, La rumba soy yo. In 2004, he won the Latin Grammy with the Spanish singersongwriter Diego El Cigala for the album Lágrimas Negras. We have scheduled a tour of Europe in the coming months. He studies every day and his mantra is, “Let’s move forward!” *José Luis Quintana Fuentes Changuito was born on January 18, 1948, in Casablanca, Cuba. He is a self-taught percussionist who played bongo at the age of five. He was a precocious musician by eight and made his debut at the famous Cuban cabaret Tropicana, with the Habana Jazz orchestra. He developed the songo, a rhythm that marked a new direction in Cuban music. Also, Changuito incorporated drums into Latin music and developed the technique of “La mano secreta” on

Yudianis Quintana Changuita, Sonando los cueros Por Deisy Francis Mexidor

the tumbadora. A tenured professor of music at the Instituto Superior de Arte in Havana, Fuentes taught at the University of Puerto Rico, the School of Modern Music in New York, and Berklee Conservatory in Boston. He taught famous percussionists, including Kart Perazzo (USA) and Giovanni Hidalgo (PR). *Macho, in Spanish, means man. Con Yudianis Quintana González se cumple aquello de que “hijo de gato caza ratón”. Su padre, José Luis Quintana, conocido en el mundo de la música como “Changuito”, es uno de los más destacados percusionistas cubanos. Hasta el día de hoy Yudianis sigue los pasos de su padre. “Me forjé como percusionista por mi papá, aunque inicialmente me dijo que no podía ser porque era necesaria la fuerza de las manos. Pero confieso que mi madre me enseñó que las mujeres si pueden. Nació el 27 de agosto de 1977 en un lugar que es cuna de rumberos, el municipio de Colón, en Matanzas, provincia ubicada a unos 100 kilómetros al este de La Habana. “Tuve una infancia feliz. Allí se conocieron mis padres y mantuvieron su matrimonio por 42 años hasta que mi madre murió en 2021. “Cuando mi padre decidió mudarnos para la capital yo era muy pequeña”, narra mientras habla de sus recuerdos. Su nombre apodo es “La Changuita”, Yudianis comenzó

sus estudios de música a los 13 años en un conservatorio de La Habana. Pero no concluyó el nivel elemental porque cuando cumplió 17 años se fue de gira internacional por primera vez.. Viajó a Arabia Saudita con el grupo Habana Son y a partir de ahí regresó a Cuba para luego continuar con compromisos de trabajo en Reino Unido, China, y Japón. También se integró un cuarteto femenino en la India. Estuvo con en la orquesta Anacaona, una popular agrupación cubana solo de mujeres, con la cual Yudianis conoció otros escenarios en países como Italia, Canadá o Martinica, y su presencia no falta en los festivales de Jazz de La Habana. Es un mundo que dominan los hombres… Es cierto, mucho machismo me decían “tu tocas como un macho*” y yo les respondo que no, que yo toco como una mujer con fuerza suficiente para que escuche el sonar los cueros. Siempre ha existido el machismo eso de que la mujer no puede porque es muy fuerte el instrumento. Pero las mujeres podemos todo, si nos proponemos. ¿Hasta cierto punto hay discriminación cuando te dicen “Tocas como un macho”? Por supuesto, yo no toco como un macho, yo toco como mujer pero con un toque fuerte, Es algo que llevo muy dentro de mí y me gusta. Si estoy un día sin tocar no vivo, esa es mi adrenalina. Creo que mi

determinación y

firmeza me llevó hasta donde estoy. De hecho, mi padre comenta siempre que él fue quien me enseñó y que está muy orgulloso de mí. ¿Cuál sería un deseo por cumplir de La Changuita? Tengo 46 años y más de 30 de vida artística. Quiero seguir cantando y tocando la percusión, que el público aprecie mi arte aquí y para el mundo. Un deseo que me gustaría cumplir es el de juntar a todas las mujeres percusionistas en un gran espectáculo. Sueño con hacer una escuela de percusión Only Woman.(Solo mujeres) ¿Qué te define? Mi passion, y gran fortaleza, la cual que me ha permitido sobrepasar a múltiples circunstancias de problemas. Seguiré palante no dándome por vencida. ¿Se considera una mujer realizada? En mi instrumento puedo afirmar que sí, lo que a veces por circunstancias que te enfrentas en la vida uno tiene que hacer altos. La situación que tuve de salud que enfrentó mi padre fue severa y me tuve que retirar por un año. Por ejemplo, en los últimos tiempos he incursionado en los cantos yoruba y lo que venga. En todo momento mi papá ha estado aquí… A mi padre lo amo. Es un percusionista súper, es un maestro. Ha viajado el mundo entero. En estos momentos tiene una amputación de pierna, pero como él dice… :No le han amputado las manos”. Muchos

críticos

referirse

Yudianis Quintana Changuita, Sonando los cueros Por Deisy Francis Mexidor

a él opinan que exprime las tumbadoras para sacarle lo mejor en ritmos. Fue profesor de los distinguido percusionistas Giovanni Hidalgo, Kart Perazz y Patricio “El chino” Díaz. Mi padre fundó junto al desaparecido Juan Formell la conocida orquesta Los Van Van en 1970. A lo largo de su carrera, no podría resumir en el limitado espacio de respuesta a una pregunta. En 1996 fue nominado a los Grammys y 1998 mi papá obtuvo el Grammy por su participación en el CD Habana; en 2001 repitió con el CD La rumba soy yo. Luego, en 2004, lo logró el Grammy Latino con el cantautor español Diego El Cigala, en el disco Lágrimas Negras.

Tenemos programada una gira por Europa en los próximos meses. Él estudia todos los días. Vamos pa’lante. *José Luis Quintana Fuentes “Changuito” (18 de enero de 1948. Casablanca, Cuba) es un percusionista autodidacta que ya a los cinco años tocaba bongó. Fue un músico bastante precoz donde a los ocho años debutó en el famoso cabaret cubano Tropicana, con la orquesta Habana Jazz. Desarrolló el songo, ritmo que marcó un nuevo rumbo en la música cubana y se le atribuye la co-paternidad de haber incorporado la batería a la música latina y la creación de la técnica de “La mano secreta” en la tumbadora. Profesor titular de la cátedra de Música del Instituto Superior

de Arte de La Habana, ha impartido su conocimiento en la Universidad de Puerto Rico, en la Escuela de Música Moderna de Nueva York y el conservatorio de Berklee, en Boston. Dictó clases a famosos percusionistas como el estadounidense Kart Perazzo y el puertorriqueño Giovanni Hidalgo. *Macho, en lenguaje popular significa Varon.

Deisy Francis Mexidor

José Luis Quintana Fuentes “Changuito” Yudi’s father

r ’s fo D e, ur e fo disciplin h t , llow on s, fo erminati ” y a ! Alw s - det drive s d e n c c a su n, catio dedi

I V L I S A T T E N

south florida

since 2007

MEMBER

Ginetta’s Vendetta by Howard A. Stone

The namesake of Ginetta’s Vendetta™ is a diminutive diva known in the jazz world as Ginetta M. Ginetta’s name is a combination of a cocktail and a legend: gin & tonic and Etta James. That’s only natural because Ginetta’s stage presence is a heady mix of what you hear…she plays a sweet pocket trumpet and sings in a sultry voice, often exhorting her audience to swing…and what you see…she struts, shakes, and spins through performances, using her countless bangles as accompaniment. On top of this, she is one of those rarest of people - a female leader of an all-male jazz ensemble. Not to suggest that Ginetta has anything against working with female musicians. But, early on in her career, she experienced many of them bristling at her glamorous, torchy and even sexy performance style. These days, she says, glamour is the rule rather than the exception for women jazz musicians. Right from the start, Ginetta understood that “audiences listen with their ears and their eyes.” While she has not steered clear of working with women, over the years, she found touring and recording with men, exclusively, works better for her. She is

aware that many men are not comfortable being directed by a female bandleader. Happily, through trial and error, she was lucky in her choice of bandmates. Ginetta faced many challenges during her career as a performer and recording artist. “I’m a pioneer like Ella Fitzgerald,” she insisted. At 21 years old, Ella was recruited by Chick Webb to lead his band. Only a handful of women have forged a successful career as a bandleader. At the helm of Ginetta’s Vendetta for nearly thirty years, Ginetta likens her ensemble to a university that has graduated dozens of musical luminaries. Ginetta travels, internationally, as a Jazz Ambassador, spreading her gospel of music and promoting jazz music as “America’s Greatest Export.” Along the way, Ginetta recorded and produced five records, as a bandleader. Two are collections of original compositions and three are jazz compilations. A sixth record, entitled Musical Freedom Fighter, will be released in September 2023. She owns her music publishing company, Kickin’ Wiccan Music, and is registered with ASCAP.

Ginetta’s earliest memory of music was listening to Zorba the Greek, at the age of five, on her family’s vintage console stereo, and twirling around the dining room. Ginetta’s passion for music was preordained because her father (100th this year) has been a lifelong jazz enthusiast, who attended live performances of every legendary jazz musician that lived. Her mother sang and four of her eight siblings played instruments. Ginetta picked up the trumpet at eight and her musical destiny was assured. Ginetta continues to encourage women in jazz to follow their dreams in a world largely dominated by men. Ginetta counsels, “Don’t ever give up! You must have the hide of an alligator and the heart of a lion. Ginetta advises musicians to remain open to constructive criticism. It’s no wonder that she continues to create, innovate, and delight audiences around the world. As Ginetta likes to say, ”With my horn as my passport there’s no place I can’t go!” Howard Stone

Y O J MI

NAO 38

south florida

since 2007

MEMBER

Naomi Joy, Sax by Vel Johnson

I met Naomi Joy at a women’s conference in Altamonte Springs, Florida, several years ago. She was on the program as a speaker and entertainer. I remember sitting at her table and, immediately, feeling like we would become lifelong friends. Naomi is a rare treasure on this remarkable journey of life. She is a comforting presence for a friend in need. This is my interview with Naomi Joy.

What drew you to music? My earliest experience with music was playing introductory piano melodies with my Dad, and singing on stage at his tent revivals. When I saw the saxophone, I wanted to play it. My parents gave me one as a Christmas gift and I never looked back. Did you study music theory? I began playing sax by ear. Then, I studied music theory and performed in concerts, marching and jazz bands, throughout my academic career. I graduated from Jones High School in Orlando, Florida, with an academic scholarship to Florida A&M University, where I studied Music Education, including music theory, conducting, brass, woodwinds, strings, and voice. Do you compose? If so, how many songs have you composed and/or published? Yes, I compose music. Writing is an enjoyable expression for me. Writing music, poetry, and lyrics brings life to the sounds

and melodies that come to me. I composed more than 30 songs, 10 are published on my debut album Love & Light. The unreleased songs are in production now for my next recording projects. Do you have a music publishing company? Are you with ASCAP or BMI? Yes, I am a member of BMI and I have 12 songs as a composer and publisher. There are many advantages of having your works published with a music performance rights organization, including compensation for your work, copyright protection for intellectual property, and advocacy for artistic creation. Are you aware of the challenges woman face in the maledominated field of music? I am keenly aware of the challenges and potential barriers for women in music performance. My experience has been positive. I believe that great music will open doors of opportunity. Women have been some of my greatest supporters in bookings and performance opportunities. Women are key to opportunity, when we embrace one another as musicians in the field and as supportive patrons of the performing arts. What advice do you have for young people entering the world of music performance?

As a Grammy-Nominated Music Educator, my advice to the youth and their parents is to study music and invest in instrumental and voice lessons. Many schools offer music courses for K-12 students, which are beneficial as the foundation for academic advancement and music performance. To future performers, I recommend finding a mentor for guidance with marketing and booking. Join community ensembles, choirs, and church music teams to be in an environment for fostering music skills and performance opportunities.

Vel Johnson is a publicist, CEO, and Founder at Vasaj Communications, a Floridabased full service public relations agency.

N O T ER

H T A LA

PAU 40

south florida

since 2007

MEMBER

Paula Atherton ~ Sass N’ Sax By Paulette C. Jackson

Paula Atherton is a New Yorkbased saxophonist, songwriter and vocalist, who shared the stage with jazz icons, including the late guitarist Nick Colionne, Gerald Albright, and David Sanborn. Paula worked in the traditional jazz field with Dee Dee Bridgewater at the Palm Springs Women’s Jazz Festival, and Hank Jones at the Blue Note in New York. Ms. Atherton’s amazing artistry and musicianship takes her all over the world, spreading her musical sunshine to everyone from all walks of life, proving that music is universal, bringing us all together. Aside from her live performances and wonderful recordings, Paula lends her gifts and talents to different populations, through music therapy for Music that Heals, proving that Music is Medicine. Her grace and style, on and off stage, is second to none. The femininity and strength Paula exudes makes it worth getting to know her phenomenal music and her as a human being, who shares her music and light with those fortunate enough to witness her greatness. She has collaborated with great names in the industry because of her diversity and professionalism. Ms. Atherton is a sought after musician, singer and songwriter. Atherton’s impressive resume has chronicles her amazing works like her latest release, Can You Feel It (2020). The title track, Can You Feel It, reached #1 on Billboard, Mediabase, and the Smooth Jazz Network. This album is full of amazing tunes.

This contemporary release has everything jazz lovers need from funky grooves to sass, warmth and class. One of my favorite tracks is A Night in Madrid, featuring Bill Heller on piano. The musicianship is brilliant and does not overpower you. It is a nice, easy groove. I feel like I’m on an island with soft, warm breezes and a little sand between my toes. I can escape to a peaceful place, listening to this album. Paula’s rendition of Patrice Rushen’s Forget Me Nots shows off her vocal skills and adds her special touch to this memorable melody. Paula puts her magical touch on it, while not taking away from Rushen’s original composition. Besides the shows, recordings, and community contributions through her music, there is a sassy aura around Atherton that makes her stand out in the musical crowd. The fact that she can wail on that saxophone and bring a crowd to their feet, on stage alone, or with other tremendous musicians and singers, her spirit adds to her wonder. She takes the time to interact and have discussions with her audience is why I am a fan of hers for life. There aren’t many artists that are approachable but, Paula Atherton is and her care for people shows. Her fans appreciate that about her. It’s one thing to give a great performance or record a great album. But to be likable is a plus that adds to the artistry and that is definitely the case with Paula Atherton. It is an honor and privilege to be

acquainted with Paula Atherton and I urge all jazz lovers of contemporary or traditional music to add Atherton’s music to their library. If you have the opportunity, go to one of her live shows. You won’t be disappointed. To learn more about Paula. Atherton’s upcoming shows and releases, visit her website at: www.paulaatherton.com. Paulette C. Jackson Published Author

www.authorpaulettecjackson.com inquire@authorpaulettecjackson.com (855) 232-9993

M O T

A K O 42

M O N

IS V R A J A R O

Tomoka Nomora-Jarvis by Gail Jhonson

How did you come to music? Where did you study? Born in Gifu, Japan, I started piano lessons at age of 6. I did pretty well but I wasn’t that interested. I came to the United States at 17, and was attracted to art and music classes, since I wasn’t yet proficient in English. I wanted to learn to play saxophone and my journey began in high school. A short time later I was accepted to Buffalo State College, where I earned a Bachelor of Music degree, and Master’s in Music from the State University of New York at Buffalo. What was your first professional gig and where? When I was 19, I played at a night club with a salsa band in Buffalo, New York. Who are some notables that you have performed with? Currently, I work with a pop singer, Andy Grammer, and an all-female band Jazz in Pink. I worked with rap artist Rod Wave, Fat Joe, Ty Dolla $ign, Remy Ma, and Japanese singer Kenichi Mikawa. What’s been your most challenging moment? When I first moved to Los Angeles, I didn’t find work in music and

stopped playing for about three years. The pandemic slowed down the entire industry. Eventually, I made my way into the R&B, smooth jazz, and pop music scene. Do you compose music? If so, how many compositions have you composed? Recordings? I compose, occasionally, but hope to expand this area of my skill set. I composed and recorded two songs under my stage name Tomoka. They are Ready to Walk Away and T Funk.” Do you have a publishing company with ASCAP or BMI? Do you own a business? I am affiliated with BMI and my association with CD Baby has been lucrative. Are you aware of the challenges women face in the male-dominated music industry? I am aware of the importance of the visual appeal of musical groups, so I devote time to preparing my hair, makeup, and outfits for my appearances. While there are some who believe underqualified women get work simply because of their looks, I work hard to maintain high performance standards.

Do you teach? Volunteer? I used to teach private lessons and I was a member of Dream a World Education projects, teaching LAUSD elementary schools. I am a board member of an organization that advocates for Japanese people living in Southern California. What are your current projects? I am quite busy touring and playing shows in Southern California. Also, I am working on a solo project, one of my priorities. What advice do you have for younger people entering the world of music? While preparing for a career in music, don’t compare yourself to your classmates. Strive to compete for work with established artists. Successful artists are not simply great musicians – they are business people who happen to play music. Maintain a professional demeanor through punctuality, preparedness, and promotion.

Versatile pianist, composer, renaissance woman & journalist Gail Jhonson

H E I AR

S E H UG

M H ARA

Sarah Marie Hughes, Saxaphone by Biggi Vinkeloe

I met Sarah Hughes with Ephemera led by Amy Bormet at the first Women in Jazz Festival in Gothenburg, Sweden. We talked about music, gender issues, and difficulties in the music business for women, and we played some original music together. We met in Washington DC, at the Washington Women in Jazz Festival, three years in a row. We performed together each time, harmonizing our saxophone voices. I had the pleasure of interviewing Sarah Hughes for this publication. Where were you the first time you heard music? The first time I heard music was in the womb. My mother said that when she was pregnant with me, she would go to my father’s concerts. He is a jazz pianist. She felt me move in response to the music. I was recruited to sing in a play in first grade. Eight students played the parts of the bells, Do Re Mi Fa Sol La Ti Do. I was Fa. I remember the music of Chick Corea and Bill Evans coming from my father’s office in the basement. It felt warm and lovely. Do you compose? If so, how many songs have you composed and/or published? I used to compose songs for a jazz trio or quartet, in my twenties. For larger ensembles, I created through composed structures that were the jumping point for free improvisation. Do you have a music publishing company? I don’t. Are you aware of the challenges women face in the male-dominated field of music? Each woman faces a different challenge, according to who they are, their family, and upbringing. The patriarchal family does a lot of damage to males and females. Women may have an inherent feeling of being dependent on males, or not up to dealing with tasks labeled ‘male’ in the home. This results in a lack of confidence, dealing with the business of the

music, or leading males on the bandstand. Males include each other in the instrumental context, while accepting females as vocalists more than instrumentalists. They are at ease with one another and possess a societal reverence, fear, or even predatory behavior toward women. If a woman can play as good as a male, she is still not the one to get the call in a male-dominated group. If the woman gets the call, she might be the focus of sexual attention, or mutual or non-mutual affection from bandmates. Subliminally, this situation devalues her musicianship. Many male musicians have become selfaware, so, this situation may exist less and less as we are evolving. It’s hard to be treated as an equal because, historically, socializing between men and women has been complicated and contrived in a number of sexist and primitive ways. What advice do you have for younger people entering the world of literature or music performance? Young people, especially, young women, should learn to keep business and pleasure separate. Male and female are so complicated, and those emotions do not belong on the bandstand. I made the mistake many times, and it damaged my identity and perception of my reputation and power. I should have been more

professional, instead of letting my personal relationships impact my performance. Falling in love is not a choice. To create deep and lasting friendships, you must assume that dating a colleague may alter your sense of freedom and professional boundaries. Some musical relationships are too priceless to be traumatized by dating issues. Where were you born? How did that influence your personal path? I was born in Lancaster, Pennsylvania, and raised in Pasadena, Maryland. My mother immigrated from South Korea and my father is from the U.S.A. My father is a professional jazz pianist. He met my mother on tour with the Jazz Ambassadors. My mother studied Korean traditional dance and drumming, before she met my father. Obviously, my father’s career impacted me a lot in my choice to become a professional improvising musician in the jazz realm. But I have an interest in Korean traditions like pansori. The sound, feel, and poise of those performers influenced me a lot. When did you know that you wanted to be a musician? When did you get your first instrument? Do you still have it? When I decided to play the saxophone at age nine, my father bought me a used Yamaha YAS23. It’s the horn I am playing, now. I wanted to be a professional musician when I was 11 years old. I flipped a few times, wanting to be

Sarah Marie Hughes, Saxaphone a doctor or a fashion designer, but by 17, I was sure that music was my thing. Where did you study music? How much support did you get? I attended the University of Maryland for Music education. I had a dual degree, since Music Ed majors completed performance requirements, too. I learned educational philosophy and how to play every instrument. I studied with an amazing classical saxophonist, Dale Underwood. I attended the New England Conservatory, where I studied with Jerry Bergonzi, Donny McCaslin, Ran Blake, and Anthony Coleman. Jerry opened up my jazz vocabulary, while Ran and Anthony developed my style and compositional approach. What was your first public performances? My first time performing for the general public outside of school was at jazz jam sessions in Downtown DC. It was hard to get my horn out and be brave enough to play on tunes I was learning, but I my friends were encouraging and supportive. Eventually, it was fun to hang out and feel part of that community, although I judged myself harshly. When did you start to teach and why do you think it is important? What did you learn from teaching others? I taught private lessons, in my last year of undergraduate school. After graduating, I taught band and strings in elementary schools. I learned about what life is like for people who have not dedicated themselves to music and who have a variety of interests and

by Biggi Vinkeloe (con’t)

hobbies. They are less intense people, gentle people. I learned that I could share my passion for making art. I shared ways in which I discipline myself, and ideas about being intentional with my instrument.

How did you learn to compose? Have you developed a composing style of your own? I took composition classes at NEC with Ken Schaphorst and Ben Schwendener. Before those classes, I was just making it up on the fly. I love arts and crafts. But composing music is using my imagination and piecing things together. The classes at NEC were about standard practices. My composing style is intuitive, organic, and untraditional. Have things changed since the 1980s, before social media, and so many women playing at a professional level? I don’t know if things have changed because I am only 36! But I can imagine that, as society creates more equality between the sexes, there must be an impact on the music scene. Social media is a burden but a great equalizer.

Anything you would like to add? How do you combine visual art and music? I stepped away from making visual art part. On a practical level, it’s hard to do both music and visual art, seriously, because the world demands stricter boxes and identities that commit in order to meet the demands of capitalism. The more people saw me as a visual artist the less they thought of me as a musician. The two personalities have a hard time sharing space in this world. There is not enough time, space, or resources. Am I an Eye and an Ear person? Can I be great at both, or must I choose? I like doing all of it, but visual art is a private hobby, for now. I doodle to relax and daydream. Links, webpages, so people can find you online / on social media etc. Instagram: @sarahmariehughes Website: www.sarahmariehughes.com photo by Efrain Ribeiro

south florida

since 2007

BIGGI VINKELOE PAST INTERNATIONAL. PRESIDENT

south florida

since 2007

LIFETIME ACHIEVEMENT

VI REDD Vi Redd by Joan Cartwright

Despite efforts to contact the 95-year-old saxophonist, I decided to include this accomplished altoist and vocalist, Vi Redd, in this issue of Musicwoman Magazine. Born Elvira Louise Redd on September 20, 1928, in Los Angeles, Vi Redd had an impressive music career that spanned four decades. She worked with legends Dizzy Gillespie, Count Basie, Earl Hines, Rahsaan Roland Kirk, Linda Hopkins, and Marian McPartland. She was acknowledged rarely for her virtuosic playing. Often, Vi performed with Count Basie and her dear friend Sarah Vaughn. She is the daughter of Alton Redd, a New Orleans jazz drummer and Clef Club cofounder. They lived in Los Angeles, where Vi experienced music as a child. Her father who a monumental player on Central Avenue, where Jazz thrived. Vi studied with her aunt, Elma Hightower, a sought-after music teacher. That is when Vi began studying the saxophone. She graduated from California State in Los Angeles and earned a teaching certificate from USC. She taught at Berkeley, CA, in the 1960’s and 1970’s. Although Vi Redd is obscure in the Jazz world, today, her band was featured at the Monterey Jazz Festival in 1966. Any Jazz aficionado can hear her on two recordings as a leader, Bird Call (1963) and Lady Soul (1965). Redd appears other albums with Al Grey on Shades of Grey, Count Basie: Live at Antibes 1968, Gene Ammons and Dexter Gordon: The Chase, and Marian McPartland, Now’s The Time. photo courtesy of www.pinterest.com

Blended

by Mothers & Daughters

Gail, Tamina & Aankha

Mimi & Diva JC

Blended by God

Daughter, Mimi Johnson & Mother Dr. Joan Cartwright, Singers, Songwriters.

Based in Los Angeles, these two young, dynamite, former Berklee College of Music vocalists and instrumentalists, play piano, drums & guitar, compose and teach music. Their voices are as harmonious as their sweet spirits, blended into one voice. Individually and collectively they have performed with many artists over the past 10 ten years, namely: Nona Hendrix, Ledisi, Bobby Caldwell, Kim Scott, Norman Brown, Burna Boy, Alicia Keys, Jazz In Pink, Pan African People’s Arkestra, Lyke Li, Gene Evaro Jr., Proxima Parada, Diamond White, Randy White, Phil Perry, Bill Withers, Taboo, Black Eyed Peas, Melissa Manchester, Boostive, Karen Briggs, Angie Stone, Hypnotic Brass Ensemble, Chico Bolivar Guadalupe Jr., And Phat Yaki.

Muki The Dook a/k/a Papadook The Poet, entertainer, MC, and Open Mic Hostess

She moved to Atlanta from Fort in Atlanta and abroad. They call Lauderdale, Florida, with her it The Ma and Pop Show. “I call parents, when she was eight. her Ma and all of my friends call her Ma. And I’m Pop. It started as Her mother, grandmother, family, a one night event, but people gave and ancestors, have music in us donations to continue doing it,” their blood. Muki said, “It felt Muki said. like something I should be doing. Instruments always attracted me. It was important that people had Watching and feeling. But I’m a safe space to bring their artistry. going to take guitar lessons in the “We branded the show with social summer.” media and novelties like T-Shirts, cup holders, and mouse pads. We From third grade, when she was did the show for a year and a half, eight, at Ralph McGill, until 13, until COVID hit,” Muki recounted. she played drums. She had a Now, they do the show every first violin but did not pursue it in high Wednesday at Black Coffee in school. “I was attracted to band. Atlanta. About 40 people sign up But sports attracted me, more. to get on stage, but they can only When I became an adult, I realized fit 20 to 22 people from 8 p.m. to 12 my body was not going to endure midnight. Aside from spoken work being in sports,” Muki lamented. artists, musicians, singers, and In 2016, Muki attended her first even painters come to enjoy each open mic. She liked to watch band other’s artistry. members create music. In 2017, On May 4, 2023, Muki hosted the she started composing poems and 4th year of her erotic poetry event jingles. She writes in her journal called The Vibration at The Love things that come to her mind, her Below Speakeasy, 555 Whitehall associations. But she is mostly an Street, SW Suite G7, Atlanta, GA informative, impromptu style of a 30303, on the first Thursdays poet. Her eight copywritten pieces from 8 to 12 midnight. She hosts are published through Anverob, a showcase with up-and-coming her mother’s publishing company. singer, Genesi, who sings her She would like to get to 25 pieces. songs and is joined by her friends Two works are on a mixed tape onstage on Saturdays at The Love anthology of Atlanta poets. Below Speakeasy. Sometimes, As she negotiated the clubs where Muki gets dinner or free studio open mics are featured, Muki met time for MCing shows, but mostly, many poets and musicians She she gets paid. recognized that, “The opportunities Muki and Mimi will be in Chicago for male musicians appear to be in June 2023. They recorded an EP greater than for women who play entitled The Ma and Pop Show, instruments.” available on all music platforms. She’s been on stages for seven years. They made a music video with three Sometimes, she does showcases songs viewable on YouTube on The and tours with her Mom, Mimi Ma and Pop Show Channel. We’re Johnson of Caustic Dames fame on Instagram and their website is

www.themaandpopshow.com. Muki considers herself to be a mentor in the poetry circle. She loves to help artists learn to brand themselves and come out of themselves onstage. Her advice to young people coming into the music industry is “Do it anyway! You gotta be nervous. Be afraid and do it anyway. Mess up and do it again!” She would be on the stage, visibly shaking, “anxiety through the roof, but these are strangers that I don’t know and shouldn’t be caring about,” Muki admitted. She learned to manage those feelings. She said, “You don’t overcome those butterflies in a lifetime. These people don’t owe you anything and you don’t owe them anything. This is for you. You can do it! Do it anyway!” The Sis is a play on words with the Black woman, highlighting adversities for being black and a woman. Advocate piece from 2020, written during the pandemic. Headland and DeLowe, where I was raised in East Point, where Outkast had a heavy influence in the Hip Hop community in the same neighborhood. Bars, an a capella rap, more than poetry. Double entendres, cheeky lines, and clever associations with me being who I am.

AUDIO BOOKS AVAILABLE JUNE 2023

www.ritagrahamsings.com 51

Health Corner: On That Note by Lydia Harris, RN CCM DTM Protecting Your Sound: How Melodious Vocalists and Wind Instrumentalists Can Prevent Injury

Being a career vocalist or wind instrumentalist requires strength, stamina, and care to express emotion through sound. In addition, singing and playing wind instruments can impact the body of a professional entertainer, positively and negatively. Vocalists require a wide vocal range and volume, but if done incorrectly or excessively, they can experience vocal fatigue, soreness, and damage to the vocal cords. The proper vocal technique involves adequate posture, breath, and projection. When singing, it is essential to stand or sit with a straight back, with the shoulders relaxed and the chin tucked in, slightly. During inhalation, the stomach should expand, and the chest should rise, and during exhalation, the stomach should contract, and the chest should fall. Proper vocalization uses comfortable vocal register, pitch,

volume, and diction. In addition, a vocalist must use articulation, vibrato, and phrasing to add emotion and expression to the sound. The wind instrumentalist risks physical strain on the neck, shoulders, and arms due to extended periods of practice and the potential for developing carpal tunnel syndrome or other repetitive motion injuries. While playing an instrument, physical movements require coordination, dexterity, stamina, strength, and attention to posture that may lead to fatigue and muscle soreness from physical strain and repetitive injuries to the neck, shoulders, and arms from extensive practice. Incorrect technique or excessive practice can injure the muscles and joints of the neck and the upper body can be overworked and strained. Proper instrumental technique for brass and woodwind musicians requires adequate posture, breathing, and embouchure. When playing, it is essential to stand or sit with a straight back, with the shoulders relaxed and the chin tucked in, slightly. For proper breathing, you must inhale through the mouth, fill the lungs with air, and exhale through the nose. The embouchure is how the lips and mouth are positioned to produce a sound. It should be relaxed and consistent. Proper technique involves correct fingerings, articulation, and dynamics to create a desired sound. Exercises include arm circles, shoulder rolls and shrugs,

neck rolls, deep breathing, and stretching the neck, shoulders, and arms. Vocal exercises include lip trills, breathy hums, mouth yoga, lip buzzes, and scales. To minimize the adverse effects of singing and playing woodwind and brass instruments, learn and execute proper vocal and instrumental techniques, take regular breaks, and avoid overplaying. It is essential to practice in a comfortable environment, with good posture and technique, and to warm up and cool down with exercises and stretches. Finally, avoid straining the voice that can lead to permanent damage. Vocal cord injury is diagnosed in a physical exam of the throat, head, and neck, in imaging tests, your medical history, and listening to breathing and vocalization sounds. Imaging tests like X-rays, CT scans, or MRIs provide detailed images of the vocal folds, allowing for a precise diagnosis. Healthcare providers, specifically, otolaryngologists (ENT – ear, nose, throat doctors), examine the vocal cords and their vibration by Laryngoscopy and Stroboscopy. Both involve the insertion of a tube through the nose and mouth to visualize the area. Normal vocal cords comprise two bands of muscle and vibratory tissue inside the larynx or voice box. The edges of the vocal cords come together when a person produces sound, creating vibration and resonance. Lesions (nodules, polyps, cysts) on your vocal cords can change your voice, making talking or singing difficult, or even painful.

Health Corner: On That Note by Lydia Harris, RN CCM DTM (con’t)

Vocal cord nodules, called singer’s or screamer’s nodes, form, if you misuse or overuse your voice. These callus-like growths develop in the midpoint of your vocal cords. Often, nodules develop on both vocal cords. Vocal cord polyps, like nodules, result from repeatedly overusing or misusing your voice. Polyps vary in size and shape but are larger than nodules. They form on one vocal cord, but the friction from a single polyp rubbing against the other vocal cord may cause an additional polyp to form. Vocal cord cysts are less common growths that have a sac around a fluid-filled or semisolid center. Symptoms of vocal cord lesions include hoarseness, breathiness, vocal fatigue, voice loss, diminished vocal range, and frequent throat clearing. Nodules

and polyps form, over long periods of overusing your voice, or misusing your vocal cords. Singing for extended periods, or straining your voice will cause your vocal cords to become irritated and inflamed, thereby, causing lesions. Therapy ranges from conservative behavioral, medical, and dietary treatments to invasive treatments like surgery. Voice therapy is practiced by a speech-language pathologist who teaches how to use the vocal cords, so they remain healthy. The therapist teaches you how to prevent injury in the future. Avoid smoky environments, reduce stress, and improve your diet to aid in healing. Excessive alcohol and caffeine dry out the vocal cords. Surgery may be necessary, if there are polyps or cysts.

Healthy habits include hydration, proper rest, warmups, a humidifier, voice rest, and reducing stress to prevent lesions. A vocal coach helps vocalists prevent injury by providing guidance and advice on vocal techniques, exercises, stretches for warm-up and cool-down, and feedback on vocal performance to identify areas of strain or fatigue. Untreated nodules, polyps, and cysts can be painful, affect your communication ability, and cause long-term damage to your vocal cords. Untreated cysts may burst, causing complications. With voice therapy or vocal rest, nodules improve within two to six months. Most go away, once you stop misusing your voice. Surgery to remove polyps or cysts, voice therapy, and vocal rest can help return your voice to normal.

To ensure a lifetime of melodious performance, vocalists and wind instrumentalists must protect their signature sounds with prevention and effective treatment. Remember to practice the THREE strategies to remain a healthy vocalist or wind instrumentalist:

Technique | Hydration | Rest | Exercise | Environment Lydia Harris

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TREASURER

Remembering OTTILIE PATTERSON by Jen Wilson Turning The Tables on The Blues : The Voice of Ottilie Patterson

When I was growing up in Wales in the 1950s, the voice of blues in the UK on records, the radio, and TV specials was Ottilie Patterson, singing with the Chris Barber Band. Ottilie was born in Comber, County Down, Northern Ireland, in 1932. While at Art College in 1949, she heard the voice of Bessie Smith on 78 rpm records and was hooked. She sang along with the records and began performing blues vocals with local bands. Then, she formed The Muskrat Ramblers. That this small, fair-haired woman would replicate the sound of the classic African American blues singers challenged perceptions when she opened her mouth to let out this huge voice. In 1954, she set off for London to track down the Chris Barber Band, “The best band in the land.” They were the frontrunners of the British traditional jazz scene, recreating music from the African American masters of the genre. British “Trad” music fought alongside Elvis Presley in the British charts and was the go-to music in clubs, halls, and jazz festivals. Chris Barber was a trombone player and band leader with a huge 78 rpm record collection. He recognized the legacy left on record by Big Bill Broonzy, Sister Rosetta Tharpe,

Muddy Waters, and Howling Wolf. He promoted and replicated their music.

When Barber heard Ottilie sing, she was in the band. Audience reaction to this small, unassuming woman with the authentic voice, was euphoric. She was thrilled to perform alongside US figures like gospeller Sister Rosetta Tharpe and bluesmen Sonny Terry, Brownie McGhee, Muddy Waters, and Big Bill Broonzy, who were invited to tour in Britain with Barber’s band. Though their careers were dormant in the U.S.A., they were invigorated by excited British audiences, seeing and hearing the real thing. Ottilie toured the U.S. seven times with Barber’s band. Her highlight experience was at Smitty’s Corner Blues Club on Chicago’s South Side, after “responding to an invitation to come up and sing with Muddy Waters’ band.” Ottilie Patterson and Chris Barber married, and continued

touring, until Ottilie’s health became fragile, and she retired from the band in the 1970s. She was a fine piano player and recorded Shakespeare’ sonnets and her own material. In 1983, she emerged from retirement to record Madame Blues and Doctor Jazz, growling her way through gospel and vaudeville classics. I interviewed Ottilie Patterson in 1990, for Jazz Heritage Wales’ Oral History Collection. Expecting a story of stardust and glamour, I returned after three days, with a different narrative. I transcribed the tapes and put them away as I felt her story was too raw to be aired in public. Thirty-one years later, DoubleBand Films based in Belfast, Northern Ireland, tracked me down and asked if I would be prepared to release her story. They wanted to make a film about their “local girl made good.” Realizing that the time was right, I released the tapes. My Name Is Ottilie will be screened on the BBC4 channel in 2023.

Jen Wilson

south florida

since 2007

LIBRE SENE

PAST PRESIDENT

In Memoriam

LIBRE SENE

SHERYL WEST

October 17, 1950 - April 6, 2023

August 3, 1948- April 18, 2023

south florida

since 2007

SHERYL WEST

LIFETIME MEMBER

Photos courtesy of Palm Beach International Jazz Festival, Jacek Gancarz

November 26, 1939 – May 24, 2023

Neal Hamilton | Paint Out Loud

216.798.0285 | nhpaintoutloud@gmail.com | www.nealhamilton.com Paint Out Loud LLC: The Art Of Neal Hamilton #paintoutloud

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