about the number of women musicians. Jazz Musicians are 85% male, according to Joan Jeffri's report to the National Endowment of the Arts (NEA). While WIJSF's association with Fondazione Adkins Chiti: Donne in Musica remains the most important international affiliation for our organization, we have also been invited to become members of Women in Music in Serbia, at the invitation of Vojna Nesic! These associations increase our visibility and strengthen our potential to increase the profile of our members. We MUST continue this important work to make those who pay taxes, control budgets for cultural programming, and general audiences aware of the inequity of income earned by women musicians and composers. The Business of Music among women must be discussed and improved. As I journeyed on to the Umbria Jazz Festival, in Perugia, and Montreux Jazz Festival and Montreux Meets Brienz, in Switzerland, I noted that at Umbria Jazz, few female instrumentalists headlined - Diana Krall and Sarah McKenzie (piano/voice), Hiromi (piano), and vocalists Simona Molinari, Dee Dee Bridgewater, Gal Costa, and Cecile McLorin Salvant. Noted guitarist/songwriter Pino Daniele had three females in his band - Elisabetta Serio Bis (Rome) on keyboards, Lakecia Benjamin (USA) on sax, and vocalist Awa (Paris). I asked Elisabetta if she gave Daniele her music. She said “No”. I encouraged her to do so, though she seemed a little reserved. Another fine pianist/composer Sade Mangiaracina from Sicily performed with vocalist Simona Molinari. Also, our International President Cettina Donato was engaged to accompany student vocalists of Berkelee College. At Montreux Jazz featured even fewer female musicians. I enjoyed the country singer/songwriter Valerie June who played guitar and banjo. I gave my book A History of African American Jazz and Blues to Quincy Jones, whom I interviewed for this book in 1993, in the exact same building! This was a very special moment for me, especially, when I told Quincy that I had attended the WIMUST Conference. His response was, "I always worked with women musicians like Melba Liston!" Also, much to my surprise, PRINCE was accompanied by three females on guitar, bass, and drums. Of the bands I heard in Brienz, no female musicians were featured. I was told that Julie from Paris performed wonderfully, on saxophone. There was a dynamic quartet of teenage boys (13-15) from Russia and three male saxophonists with a trio from Sicily, leading me to believe that the Good Ole Boys Club is being proliferated through European youth bands. The young bassist from the Open Jazz Youth Band from Sicily did say, “My dream is to find a girl drummer!” My conclusion is that the low numbers of women musicians being booked at major and minor festivals and concerts is largely due to lack of awareness or, perhaps, consciousness about this problem. We MUST continue to create awareness in all arenas, not just cultural arenas, but in political and economic arenas because women musicians only earn 64% of what male musicians earn, while women in other fields earn 75% of what men earn. Women in Jazz South Florida, Inc, Joan Renee Cartwright born in Queens, NY., poet, musician, composer, author, and historian, lives in Hollywood, Florida. She has performed on five continents and in addition to producing two CDs, is the author of nine books including Amazing Musicwomen and the Joan
Cartwright
Song Book, with jazz and blues songs. Joan's song "The Glory Road" was chosen for performance by “Donne in Jazz” in December 2012. In 1983, "Sweet Return" was recorded by Freddie Hubbard on Atlantic Records. Heressays,
articles and interviewshave been published locally and internationally online, in magazines, journals, anthologies and newspapers. In 2007, she founded Women in Jazz South Florida, Inc. to promote women musicians, globally. The organization has 217 members, with 102 musicians. Joan hosts
a
weekly
radio
show
featuring
women
composers
and
instrumentalists
at
www.blogtalkradio.com/musicwoman. She performs, regularly, with her quartet or 8-woman ensemble 85