MusicwomanMagazine2025

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

Spring 2025

Issue #7

Donna Singer INTERNATIONAL

SPRING20 202 25 5

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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!

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

Musicwoman Magazine©®™ TEAM

Dr. Joan Cartwright Editor-in-Chief

Publisher: Women in Jazz South Florida, Inc. Founder/Executive Director: Dr. Joan Cartwright – director@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 Creative Team: Jodylynn Talevi, Linda Harris, Mimi Johnson Contributing Writers: Dr. Joan Cartwright, Kim Clarke, Lydia Harris,

Dr. Gail Jhonson, Mimi Johnson, Junn Pato-Ryan,

Christian Pabst, Steve Conley, Biggi Vinkeloe Submissions: director@wijsf.org General Inquiries: info@wijsf.org Sponsorships: wijsf12@gmail.com Musicwoman Podcast: www.blogtalkradio.com/musicwoman Social Media/Website: www.wijsf.org

www.musicwomanmagazine.com

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IG: wijsfglobal

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DISTRIBUTION For sale at 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.

Read Spring 2025 online: https://issuu.com/joancartwright

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From the Editor-in-Chief Dr. Joan Cartwright Why Musicwoman Magazine? For 30+ years, my life was golden, touring five continents and 20 countries, performing as a Jazz/Blues vocalist and composer, and writing for various publications. When I returned to the USA in 1996, I realized that I had only performed with six women musicians. I began the Jazzwomen Directory online to catalog the lives of women in music, particularly, in Jazz and Blues. By 1998, my online directory was available to the public. To date, there are 100 women listed. In 2007, I incorporated our nonprofit to promote women musicians, globally.

In 2017, I published my doctoral dissertation, Women in Jazz: Music Publishing and Marketing with “Six Keys For Success For Women Musicians”. In 2019, we released the first edition of Musicwoman Magazine, an annual publication with the stories of women musicians.

Through a grant from Conquest Graphics printing company, we published this magazine for seven years from March 2019 to June 2025. However, the grant only covers printing, and we pay writers, photographers, graphic designers, and editors. In 2020, we published the first edition of Musicman Magazine, and five subsequent issues.

These publications feature talented women and men in the music business. Some are obscure, despite their lifetime commitment to creating beautiful music. Some are not signed with record companies and need affordable promotion, which their membership affords them.

Our goal is to publish MusicTeen Magazine. We employ editors, graphic designers, writers, photographers, and distributors in key cities like Miami, New York, Atlanta, and Los Angeles. However, printing prices soared, after COVID, limiting the printing of our publications available at https://issuu.com/joancartwright When our members receive the magazines, they reach out to each other and collaborate on music projects.

Another benefit of the publications is that local, national, and international companies advertise to our members and readers at affordable prices. We built our advertising base to support the publications in years to come. As far as competition is concerned, most of our musicians are not mainstream, so they get promotion here, where we honor their creativity.

Contact us, if you’re interested in supporting our mission to promote women musicians and composers, globally, and men who support them.

Thank you,

Dr. Joan Cartwright director@wijsf.org www.wijsf.org MUSICWOMAN MAGAZINE 2025 - 4

d Letter from the Editor-in Chief 4

d Letter from the International President 6

t Donna Singer’s European Musical Journey: A Melodic Adventure Across Iconic Destinations

by Junn Pato-Ryan t Amy Bormet and Biggi Vinkeloe in Sweden and California

9 12

t Linda Harris in Japan 14

t Rotraut Jäger: A trip to Senegal with many flutes of a lady bandleader!

by Christian Pabst

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t Impact of Aging on Women Musicians: Healthcare Challenges Strike a Sour Note by Lydia Harris, RN, CCM

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t First Musicwoman™ Festival Makes Herstory in Atlanta

by Mimi Johnson 20

t Windy Barnes in China and Cuba

by Dr. Gail Jhonson 22

t Her Rhythm, Her Roots Dominican Republic

by Steve Conley, Well-Volution Global Network

d Tales from the Dusty Trail by Joan Cartwright

d In Memoriam: Roberta Flack & High Chief Nathaniel B. Styles, Jr.

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From the International President May 15, 2025 Letter from the International President of Women in Jazz South Florida Global Unity in Women’s Music – A Festival of Celebration and Collaboration Dear Friends and Supporters of Women in Jazz, It is with deep pride and gratitude that I write to share highlights of the extraordinary journey we have taken this past year in uniting women in music across continents, celebrating the power of jazz, and deepening the mission of Women in Jazz South Florida (WIJSF).

Under the visionary leadership of our founder and stalwart advocate, Dr. Joan Cartwright, WIJSF was honored to participate in the first remarkable Musicwoman Festival on October 19, 2024, in Atlanta, Georgia. I had the privilege of securing a grant that enabled me to travel with my band to represent our music and voices on that significant platform. The event was a resounding success, amplifying women’s contributions to jazz and opening doors for more international collaboration.

south florida

since 2007

SIBONGILE ANNA BUDA INTERNATIONAL PRESIDENT

Following Atlanta, our musical journey continued to New York City, where the legendary bassist Kim Clarke, founder of Lady Got Chops Women’s Month Jazz Festival, graciously organized a series of gigs for us. Her unwavering commitment to creating space for women in jazz was empowering as a reflection of the ongoing sisterhood that binds our global network.

The highlight of our year was undoubtedly the Global Jazz Women’s Festival (GJWF) held in March 2025 in Eswatini, during International Women’s Month. This event was proudly supported by REVAinc, a dynamic organization led by Jessica Jones, whose support was instrumental in creating a space of joy, learning, and musical excellence.

This festival was a vivid fusion of cultural unity and collaboration. We were thrilled to share the stage with phenomenal musicians from Botswana, including our long-standing allies Kim Clarke (USA) and Biggi Vinkeloe (Sweden), as well as the vibrant JCFI Music Ensemble (South Africa). These collaborations reflect the very essence of our mission to connect women across borders through the transformative language of music.

As International President of WIJSF, I am inspired by the commitment, creativity, and solidarity displayed by every woman who took part in these events. We are more than a network. We are a movement rooted in mutual respect, cultural exchange, and artistic excellence.

We look forward to expanding these partnerships and creating even more opportunities for women in jazz worldwide.

Together, we continue to rise, play, and inspire.

With appreciation and in harmony,

Congratulations

Sibongile Buda

International President

Women in Jazz South Florida

2025

MUSICWOMAN

Artist of the Year

SIBONGILE ANNA BUDA MUSICWOMAN MAGAZINE 2025 - 6

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MUSICWOMEN News 2025

Women in Jazz South Florida welcomes Member # 450

south florida

since 2007

VINNIE KNIGHT MEMBER #450

Ms. Vinnie Knight

Congratulations MUSICWOMAN BERTHA HOPE $100,00O Grant from The Mellon Foundation

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Donna Singer’s European Musical Journey: A Melodic Adventure Across Iconic Destinations

by Junn Pato-Ryan

www.drdonnasinger.com www.facebook.com/donna.singer.7370 www.instagram.com/drdonnasinger south florida

since 2007

DONNA SINGER LIFETIME MEMBER

www.youtube.com/user/drdonnasinger1 drdonnasinger@gmail.com

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Donna’s contributions to the arts and her global reach are truly remarkable. Her inclusion in Expert Profiles: Conversations with Influencers and Innovators, Volume 11 and the Amazon #1 bestselling book Raising The Bar Volume 10 highlights her ability to inspire beyond her performances.

Recent international appearances in cultural hubs like Rome and New York City, along with her performance at the Kravis Center for the Pace Center for Girl Empowerment Luncheon in West Palm Beach, underscore her commitment to making an impact through her music and outreach. Her latest CD, showcasing collaborations with Grammy winner Aaron Stang on guitar, and Grammy nominee Melton Mustafa Jr. on alto sax, is a testament to her artistry and ability to bring together exceptional talents. Donna’s evolving journey in the jazz world and broader music community is truly a gift to audiences worldwide. Cheerio, indeed!

Donna’s journey as a jazz vocalist and performer is nothing short of inspiring. With a rich catalog of 12 CDs and eight singles, Donna has clearly left her mark on the music scene. Beyond her music, Donna is an active advocate for musical collaboration through her role as the founder and producer of The Joyful Journey Music Festival, where she brings together musicians from a variety of genres.

GOSPEL

JAZZ

#1 for 9 weeks

BOTH HOLIDAY SONGS #1 Top 50 Christmas: Jazz Song Chart ROOTS MUSIC REPORT

CROSSOVER TO EUROPEAN MARKET AIRPLAY IN ITALY

New

RELEASE DONNA music.apple.com/us/artist/donna-singer/462927852

Junn Pato-Ryan is a versatile writer from the Philippines, now residing in the picturesque Catskill Plateaus.

With years of experience under her belt, Junn has built a thriving career as a remote freelance writer, working on a wide range of projects that showcase her diverse skills and passion for writing. She is the writer of many of the articles, interviews, and newsletters about her good friend, Dr. Donna Singer. Junn’s writing journey encompasses a wide array of genres and styles, ranging from technical writing and children’s literature to published poetry and romance novels. This extensive range of experience equipped Junn with a unique ability to bring her tone and style to amplify any project. Her experience as an editor ensures that her writing resonates with its intended audience. With a focus on the art of storytelling and the craft of clear communication, Junn delivers work that is effective, engaging, and memorable. Whether working independently or collaborating with other artists, she remains committed to producing high-quality content that exceeds expectations.

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Donna Singer’s European Musical Journey: A Melodic Adventure Across Iconic Destinations

by Junn Pato-Ryan Renowned Jazz vocalist Donna Singer captivated European audiences with her dynamic voice and soulful interpretations. During her performances in Italy, Switzerland, the United Kingdom, and France, she showcased her exceptional musical talent and deep connection with fans, worldwide.

In the Summer of 2024, Donna toured throughout Italy, making stops in Tuscany and Rome. Against the backdrop of the enchanting Tuscan hills, she mesmerized diners at a rustic tavern nestled within a wine villa. Her soulful rendition of All of Me resonated so profoundly that the audience’s enthusiastic demand for an encore underscored the universal appeal of Donna’s music. She performed at Saint Francis of Assisi, where her heartfelt interpretations charmed local Jazz lovers.

The highlight of her tour was in Rome, a city steeped in history with over 930 historic churches. Donna enchanted listeners in the cozy, centuries-old St. Paul’s Within the Walls Episcopal Church on the outskirts of Vatican City. The intimate setting heightened the spiritual essence of her performance, leaving the audience deeply moved.

Last year, Donna traveled to London, where her voice soared beside the historic fountain near Buckingham Palace, during a stirring performance of Let There Be Peace on Earth, spreading a message of harmony and goodwill. A subsequent show at the William Shakespeare Round Theater turned unforgettable, when she nearly tumbled off the stage. With her swift recovery and lighthearted humor, she won the audience’s admiration, as she concluded the set with a touching rendition of L-O-V-E. In 2018, her European travels culminated in Paris, the City of Love, where she performed at a prestigious concert hall alongside her gifted accompanist, Roy Singer. The warmth of the crowd was unmistakable, as fans gathered around her, during intermission, undeterred by language differences. A highlight of her time in Paris was renewing her wedding vows with Roy at the Eiffel Tower, followed by an unforgettable tour of the Louvre Museum.

A three-week artist-in-residence program in Switzerland and Italy launched Donna’s international career at the 2016 Uncool Jazz Festival. Through heartfelt performances, Donna brought joy to local nursing homes and hospitals with her music. Near the Italian border, her music transcended language barriers at a charming local inn, where the audience’s enthusiasm led to yet another request for an encore.

Donna’s European tours showcased her incredible ability to connect and inspire. Her performances, full of unexpected joys and deep emotion, left a memorable mark on every audience, winning over both loyal fans and new admirers. As she continues her musical journey, many eagerly await the next chapter of enchanting tales from this extraordinary artist. In 2026, Donna is set to embark on a whirlwind 4-city Jazz tour through Portugal and Spain.

Stay tuned for the details at https://www.linkedin.com/in/dr-donna-singer-a44b43a MUSICWOMAN MAGAZINE 2025 - 11

Women and Roots Meet Amy K. Bormet by Biggi Vinkeloe

Since early 2023, Women and Roots is an ongoing project founded by Swedish musicians Annika Törnqvist and Biggi Vinkeloe. We present women artists dedicated to exploring their cultural heritage with a contemporary and future-oriented perspective. Roots and traditions from different continents intersect with contemporary compositions, creating a new world music. The project contributes to a broader development of an international network with residencies, concerts, workshops, and recordings with artists from Sweden, India, Finland, South Africa, and the United States.

This Spring, we engaged pianist and composer Amy Bormet in a two-week residency. Amy is an amazing musician, composer, facilitator, writer, founder, and manager of the Washington Women in Jazz Festival. She created paid, trainee, and volunteer work for several people who develop the Jazz scene for women musicians and composers in Washington D.C. and beyond.

We asked Amy to compose new music for a Classical chamber choir and a Jazz ensemble. The Carl Johan Chamber Choir, conducted by David Molin, has several international awards. This choir is versed in Classical choir music, mostly a cappella with up to eight voices. At first, it was not easy to convince the choir to perform something new and unusual with a Jazz ensemble, integrating improvisational elements.

However, Amy graciously wrote compositions for a Classical choir and improvising Jazz musicians. In winter, she sent us sheet music and synthesizer-generated voicings. We met for rehearsal on the day of the concert.

The choir was hesitant, until we began performing together. Then, they were enthusiastic!

Amy wrote Love, an a cappella piece; Crystal Gazer for choir, flute, and piano; and I Am Here for choir and a quartet with sax, piano, bass, and drums. The concert ended with a blues that the choir learned moments before the audience arrived. Also included were compositions by NAB Trio. It was an epic concert for an enthusiastic audience. A digital album will be released with film sequences.

We played two dates as a quintet: one concert and a studio recording session. Our musical adventures with Amy Bormet did not stop there, we had rehearsals to arrange for three more concerts, with different line-ups every time, including Amy Bormet (p) / Biggi Vinkeloe (sax) / Annika Törnqvist (bass) / Matt Dievendorf (guitar, composition) / Peeter Uuskyla (drums).

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Twice we performed with Sardinian trumpet player Mario Massa and singer Mixa Fortuna who contributed with some traditional Sardinian singing.

Also, we conducted an afternoon workshop with a community orchestra of amateur musicians.

In 2016, I founded Stans Häftigaste Orkester (SHO), Gothenburg’s most amazing orchestra, which is an inclusive workshop orchestra for people of all ages and generations, from beginners to experienced instrumentalists.

We hold workshops with guest musicians from Italy, Sweden, France, South Africa, U.S.A., and India. Through this ensemble, I explore new ways of teaching music in a group setting. I am interested in the correlation between music and physical and emotional well-being, using music to improve skills like concentration, focus, and teamwork, along with hand-eye and ear-hand coordination and memory.

Our time with Amy Bormet was a wonderful experience. Most exciting was performing with 13 musicians on stage! Amy and I have been working together since 2016, when we founded the Harold Trio with drummer Tina Raymond. We met in Sweden, Los Angeles, and in Washington D.C., for performances and workshops. We recorded two albums and had several radio shows together.

When Amy came to Sweden this June, we enjoyed a real adventure with women musicians and composers from different countries, with different sensibilities, and the will to collaborate and enrich each other in concerts, workshops, and work-in-progress recording sessions. In 2026, we will develop Women and Roots further, bridging Jazz improvisation and Classical western choir music.

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Line-up: Amy Bormet piano, voice, composition Carl Johan Chamber Choir with conductor David Molin

NAB Trio featuring: • • • •

Nema Vinkeloe Uuskyla, viola, voice, composition Biggi Vinkeloe sax, flute, composition Annika Törnqvist bass, composition Vanja Holm drums

www.womenandroots.se www.amykbormet.com www.washingtoninformer.com/ washingtonwomenJazz-festival www.sodamusic.se/nabtrio Photos by Anders Sundqvist.

Jazz Journey Through Japan: A Musical Tour to Remember by Linda Harris

In April, my husband David Cole and I had the extraordinary opportunity to tour Japan and share our love of Jazz across multiple cities and regions. We arrived on March 30, and departed on April 30, carrying with us our instruments and voices and a deep sense of excitement for what lay ahead.

Our performances took us through some of Japan’s most beautiful and culturally rich areas.

We performed Jazz standards in Yotsuya, Tokyo; Gunma Prefecture; the scenic hot springs town of Manza Onsen; Matsumoto in Nagano Prefecture; Kurumayama highland; Sendagi in Tokyo; and Yoga, Tokyo. Each stop brought a new audience, a unique atmosphere, and unforgettable memories.

We were fortunate to collaborate with an incredibly talented group of local musicians.

Pianist Yasuichiro Yamaguchi brought elegance and depth to our sets. We also had the joy of playing with Yuriko on the erhu, Jun Saito, Hiroyuki Negishi and Haruto Katayama on drums, Keisuke Yaba on guitar, Yasushi Yoneki and Yosuke Mitsuhashi an bass and Kuʻulei Park, also on drums. Their musicianship, warmth, and enthusiasm elevated every performance.

A special highlight of our tour was working with our host, Nanako Sato — a gifted vocalist and pianist whose generosity and musical spirit made us feel truly at home. Nanako's guidance and support were instrumental in making our journey smooth and fulfilling.

We can’t wait to return!

As a vocalist, I felt continually inspired by the environment and the people. David, ever soulful on guitar, found new tones in each setting, whether in a bustling Tokyo café, or nestled in the serene mountain air of Nagano. We performed as a duo, but the connections we formed made us feel part of something much larger.

Beyond the music, Japan captivated us in every way. The breathtaking scenery from majestic mountains to peaceful countryside combined with the country's efficient and varied transportation, the crisp and changing climate and, above all, the kindness of the people, created an unforgettable experience.

This tour wasn’t just about performance; it was about cultural exchange, collaboration, and the power of music to bring people together across languages and borders. We returned home with full hearts, deeper friendships, and a profound appreciation for the beauty of Japan.

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7TH ANNUAL PALM BEACH INTERNATIONAL JAZZ FESTIVAL 4.27.25 W. PALM BEACH, FL

photos by: Jacek Gancarz MUSICWOMAN MAGAZINE 2025 - 15

Door Of No Return, Gorée ©Christian Pabst

Résidence Ambassade Suisse de Dakar ©Christian Pabst

“A true Jazz musician should confront the history that is interwoven into the story of the music we love. “

Rotraut Jäger

Christian Pabst ©Andrea Rotili

Dakar Music Expo ©Christian Pabst

Christian Pabst - Jazz pianist & composer German pianist and composer Christian Pabst is a true storyteller, deeply rooted and connected to Jazz greats. He is an original and genre-transcending voice on the European Jazz scene. From a small German village close to the French border, Christian felt instantly connected to Jazz when he heard the local youth big band for the first time. His thirst for understanding Jazz led him to study piano and film music at the most renowned conservatories in Amsterdam, Paris, and Copenhagen. He has toured Europe and five other continents. Christian’s lyricism unfolds on his acclaimed recordings, Days of Infinity and Song of Opposites, hailed by international presses. His trio recordings, Inner Voice, Balbec, and Rhythm Riot were described as a “surrender to the beauty of music” by All About Jazz USA. As a sideman, Christian collaborated with flutist Rotraut Jäger and Czech saxophonist Lubos Soukup. He performed and recorded with guitarist Lionel Loueke, who worked with Herbie Hancock, and Ahmad Jamal’s bassist James Cammack. As an arranger, Christian worked for a wide range of ensembles, including National German Television, WDR Funkhausorchester, Matangi Quartet, and Sven Ratzke. Christian taught at conservatories in Amsterdam and Saarbrücken.

Currently, he is a faculty member at the Conservatory of Cagliari, in Italy. www.christianpabst.com

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Rotraut Jäger: A trip to Senegal with many flutes of a lady bandleader!

by Christian Pabst Two years ago, I played a Jazz festival in my German hometown, Saarbrücken.

That evening, the group Sonambique performed a high-intensity set, mixing World Music and Jazz. The African rhythm section was led by a virtuosa flutist and a true power woman, Rotraut Jäger, who impressed everyone with her musical energy and versatility on the C-flute, alto-flute, bass-flute, piccolo, and the Indian bansuri! Backstage, we learned that we’re from the same place but never crossed paths because she left early for Zürich, Switzerland, where she is based.

Le Phénix, Dakar ©Christian Pabst

Female flutists leading their own bands are rare in the male-dominated Jazz industry. So, I was curious to know more about her journey. Rotraut started playing the recorder at an early age, but she switched to the transversal flute at 11. As a child, her father exposed her to Classical music and Jazz. Now, she tours, internationally. She composes music that is featured on two of her albums, Sonafari (2020) and Dynamite (2023).

After having expressed mutual admiration for our playing, we waved goodbye. We were destined to meet, again at Jazz Ahead, Europe’s international trade fair for musicians. Happily, we realized that we share the same sense of humor, a match needed desperately, when you collaborate!

Rotraut invited me to join her project, and we hit the road, immediately, with performances in France, Germany and Switzerland. Then, she was invited to play at the Dakar Music Expo. During our stay, we performed at the festival, at the Swiss Embassy, and at Le Phénix, a local club, with two fantastic musicians, Omar Diadji Seydi from Dakar on drums and Abdourakhmane Fall from Saint-Louis on bass. They showed us the real Senegal, from an authentic African lunch and browsing marketplaces to listening to djembe groups and Senegalese salsa at the beach.

A tour is a great opportunity to get to know each other better. It was so meaningful for Rotraut to express her wish to visit Ile Gorée, the main trading point of the Transatlantic slave trade. Her purpose was not touristic. She said that a true Jazz musician should confront the history that is interwoven into the story of the music we love.

I understood that Rotraut experienced many challenges as a woman in the male-dominated music industry. Hearing about this from my female students, I asked for her advice for younger female artists. Rotraut recommended being open for collaboration, networking, and travel. She suggested that they be surrounded by great, reliable, and accomplished musicians. For sure, that is the example that she is living, every day, on her artistic path. Her fans and I are curious to see where she will take Monument De La Renaissance Africaine her music next! ©Rotraut Jäger https://redplanetflute.com/ MUSICWOMAN MAGAZINE 2025 - 17

Impact of Aging on Women Musicians: Healthcare Challenges Strike a Sour Note by Lydia Harris, RN, CCM In the music industry, aging gracefully presents unique challenges for women musicians.

As a retired nurse case manager with over 30 years of experience in commercial healthcare and government insurance programs, I saw how health coverage, or the lack of it impacts quality of life, significantly. Also impacted are creativity, career longevity, and financial stability for aging musicians.

A major challenge is navigating health insurance networks. Musicians are freelancers, independent contractors, who are uninsured or underinsured, while traveling. Those with insurance face hurdles in ensuring that their preferred healthcare providers are in-network with the health plan. Out-of-network costs skyrocket, causing financial strain, or avoidance of care, affecting demanding careers.

Inconsistent income makes comprehensive health insurance a luxury for musicians. When preventive or ongoing treatment is cost-prohibitive or delayed, personal health and careers are affected, negatively. Some women musicians have no insurance, making preventive care, early diagnoses, and consistent treatment impossible. The gap in care escalates minor issues into serious chronic illnesses, severely limiting their ability to perform, travel, and maintain a vibrant career. Chronic conditions like arthritis, hearing loss, and cardiovascular disease are common among aging musicians. When untreated, these ailments end careers.

The stress of performing without proper medical support diminishes quality of life and emotional well-being, further compounding health risks.

Insured musicians encounter barriers when choosing healthcare providers at home and abroad. The process of selecting providers within the network is challenging. How does one choose a good doctor? Have they worked with your condition before? Is the office staff friendly? Are the waits long? Are they accepting new patients?

Roberta DeMuro is a pianist, vocalist, and the Musical Director for Women in Jazz South Florida (WIJSF).

She had a delay that positively impacted her life. As an enthusiastic, powerfully expressive storyteller, she is a forceful pianist who developed carpal tunnel syndrome. Her doctor referred her to a neurologist with staff who “had a nasty attitude,” according to Roberta, who waited five months for an appointment. The attitude and delay resulted in no surgery. Ironically, the problem dissipated.

“One day, in the lobby a hotel where I played, I looked at the piano and it hit me like a ton of bricks. The wheels!

At home, my piano doesn’t have wheels. But hotel pianos have wheels to move them around, easily. The wheels are three inches or higher. This height made me reach up to play the piano. That put my wrists at a bad angle, resulting in pain. By using a pillow to raise myself up, I healed myself. My wrist pain disappeared.”

Healthcare providers and therapists look at illness through different eyes. Occupational therapists (OT) conduct functional assessments and provide guidance, including skills for daily living and work with hands, arms, and fingers. In Roberta’s case, an OT would have asked about the pianos and differences between those at her jobs and the one at home. She was fortunate to discover the cause of her pain, and the solution, thereby avoiding surgery, which may not have addressed the problem.

The complexity of healthcare systems, the multitude of providers, and the nuances of insurance coverage may cause seniors to select providers who are not covered, or knowledgeable about their needs, leading to substantial out-of-pocket expenses and delays in effective treatments. “Care might be better, and cheaper abroad than in the U.S.A.,” according to Dr. Joan Cartwright, Founder of WIJSF. “In China, I contracted a respiratory virus and MUSICWOMAN MAGAZINE 2025 - 18

had to seek medical care. The doctor charged me $15, the medicine worked, and I was able to get back to work quickly. In Switzerland, a friend referred me for another ailment to a doctor who gave me one little pill that solved my problem, and I was not charged. That’s the benefit of universal healthcare in other parts of the world.”

Some medical treatments take time. It’s critical when senior musicians fail to adhere to, or benefit from prescribed treatment plans they misunderstand.

Disinformation about the severity of conditions, treatments, and medications due to denial of care, lack of understanding by the provider or patient, complex diagnosis, procrastination, neglect, or discomfort with lifestyle changes required for better health, impact treatment outcomes, significantly. This oversight leads to worsening conditions, expensive medical interventions, and diminished perform on tour.

Karen Borca is a composer and pioneer of the bassoon in Avant-garde Jazz and Free Jazz. She recalled her challenges with health insurance authorization and the impact on her health. “I have gone without treatment due to insurance denial of a specialist recommended by my primary care provider. My doctor referred me to another specialist in the network, but this condition became exacerbated because I was without a specialist for six months.”

Healthcare solutions require a concerted effort by healthcare professionals, insurance providers, and the musician. Prevention begins with awareness and education. Empowering musicians to understand their health insurance coverage options, provider networks, and preventive care impacts long-term outcomes. Resources such as a case manager, disease-specific support groups, literacy programs, and financial assistance bridge crucial gaps in healthcare.

www.karenborca.com

www.robertademuro.com

Usually, case managers are provider or insurance-based nurses. Also, they can be social workers in hospitals and community organizations, functioning as patient advocates, coordinating care and services to help individuals navigate complex healthcare and social systems to ensure they receive support and resources to achieve health and wellness goals. You can ask your provider or insurance customer service rep to speak with a case manager on staff.

The case manager’s job is to be proactive, establish clear communication channels, and provide supportive educational interventions essential for helping aged women musicians to navigate healthcare complexities. The case manager facilitates timely care by the best providers available, within coverage guidelines.

In conclusion, addressing healthcare challenges supports the longevity and vibrancy of a musician’s career. The music industry and its supporters can play a vital role by advocating for better insurance options and promoting health education, including reading through the mounds of mail from insurance companies and providers. While supporting treasured artists, we must acknowledge their unique healthcare challenges and commit to meaningful improvements that enable them to continue enriching our lives through their music. www.consultlydia.com MUSICWOMAN MAGAZINE 2025 - 19

www.joancartwright.com

south florida

since 2007

LYDIA HARRIS TREASURER

First Musicwoman™ Festival Makes Herstory in Atlanta

by Mimi Johnson On October 19, 2024 the first Musicwoman™ Festival was an awesome concert, at the HJC Bowden Center in East Point, Georgia. Women in Jazz South Florida, Inc. produced a beautiful and inspiring musical event, featuring women musicians, composers, vocalists, and poets from around the world.

The lineup was hosted by The Ma And Pop Show and featured the Jazz Camp for Female Instrumentalist (JCFI) from Mamelodi, South Africa; bassist Kim Clarke from New York City; vocalist Jus’ Cynthia from West Park, Florida; harpist Radha Botofasina from Los Angeles, California; and Ragan Whiteside, Carol Albert, Rita Graham, The Papadook, Chrystal Doomes, Abyss, Jarvis Evans, and She Pharaoh from Atlanta, Georgia.

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.

Why? Women musicians earn only 20% of the $65 Billion music industry’s income. The figures are shocking but not surprising. Rather than insist on equal wages and fees, it is essential to underline that women make up approximately 40% of the taxpayers in the United States. Therefore, they should be present when decisions are made in all fields and for all reasons, which includes the performing arts.

Women are paid less because few people and organizations are defending them. Their works are presented less because no strong ongoing lobby insists that they are put at the forefront of artistic activities like performances, exhibits, and educational opportunities. Part of the problem is the lack of motivated organizations in the arts pushing to assure that women artists are in the mainstream of performances, radio/TV, exhibitions, and film music licensing. We need more empowerment of women artists but here is the problem: if women are not prepared to fight, then, victories won’t be won.

“As cultural politicians, WIJSF’s goal is to increase public funding of women in the arts, since women hold up 40% of the sky by paying taxes. However, women in the arts only receive less than 22% of public funding from the $56 Billion of government funding of the arts. Through the Musicwoman™ Archive and Cultural Center (MWACC) (501(c)(4), we plan to lobby Washington, D.C., through the arts councils, politicians, and community activists to increase grant funding for women in the arts,” declared Dr. Cartwright.

Clearly, women musicians are only part of the problem. But WIJSF has an international network that deserves greater recognition for what it has and continues to achieve. Other women, especially, younger women should be encouraged to sign on to local or national organizations, undersign petitions, and attend conferences and performances by women. “In 18 years of gathering women musicians together and getting their music heard by multitudes, our 501(c)(3) nonprofit organization has educated thousands of individuals and whole communities by promoting women musicians, globally,” according to founder and director Dr. Joan Cartwright.

MUSICWOMAN MAGAZINE 2025 - 20

“With 450 members as of April 1, 2025, 285 are musicians, and 78 are men who support our members and our mission. To date, we have published seven annual issues of Musicwoman and six annual issues of Musicman Magazines.” Subscribe at www.musicwomanmagazine.com and www.musicmanmagazine.com.

“As cultural politicians, WIJSF’s goal is to increase public funding of women in the arts, since women hold up 40% of the sky by paying taxes. However, women in the arts only receive less than 22% of public funding from the $56 Billion of government funding of the arts. Through the Musicwoman™ Archive and Cultural Center (MWACC) (501(c)(4), we plan to lobby Washington, D.C., through the arts councils, politicians, and community activists to increase grant funding for women in the arts,” declared Dr. Cartwright.

A special thanks to our audio engineer, Deanna Cannon of Statement by Sound, and The Russell Innovation Center for Entrepreneurs for donating space for our press conference. Produced by Women in Jazz South Florida, Inc., The Musicwoman™ Festival was sponsored by the Atlanta Black Chambers (ABC); the City of East Point, Ora Lee Smith Cancer Research Foundation, Jazz WCLK 91.9 FM, Hype Magazine, Maverick Global Distribution, ASALH South Florida, Inc., FYI Communications, Inc., MJTV Network, Caustic Entertainment Group, MJ Generational Wealth, and JT Design and to Al Smith for supplying the sound gear for the Musicwoman Festival.

In conclusion, the first Musicwoman™ Festival was a huge success highlighted at the event by a Proclamation declaring October 19th as Musicwoman Day in the City of East Point, Georgia, presented by The Honorable Mayor Deana Holiday Ingraham. We look forward to presenting the 2nd Musicwoman™ Festival in the near future. Until then, find ways to support women musicians, especially, instrumentalists!

Mimi Johnson, Media Director/Journalist www.wijsf.org | www.musicwoman.art | Photos by: KDyke MUSICWOMAN MAGAZINE 2025 - 21

Windy Barnes in China and Cuba

by Dr. Gail Jhonson Several years ago, I met Windy Barnes in the African-American creative mecca of Leimert Park in Los Angeles, California. I loved her voice and her friendly smile.

We got to know each other, started doing shows together, and I became the Music Director for the San Pedro Music Festival that Windy produces. She is a dynamic singer, vocal coach, choir director, actress, producer and entrepreneur.

Windy’s musical journey began at three, when she sang a solo for a small audience at the Unity Baptist Church in Chicago, while standing on a black wooden box. She was inspired by TV commercials, and Motown and gospel singers like Sam Cooke, Albertina Walker, and James Cleveland. She was a favorite in elementary school concerts and school plays.

“I was asked to visit different classrooms to sing a cappella. I was a radio broadcast soloist at Trinity Baptist Church, where I directed the senior, young adult, and children’s choirs. I was 13,” Windy recalled.

In her twenties, Windy joined the national touring company of the WIZ. A few years later, she worked with Stevie Wonder on seven world tours, after he heard her sing on a TV show.

Prior to college, Windy was educated at church, school, and during performances with her band at 16. At 18, she began studying voice and theater at Kennedy King College. After two years, she attended Vander Cook College of Music in Chicago, majoring in Voice. Abroad, she taught vocal techniques to students in China at Windy Barnes International Voice Academy (WBIVA).

Windy related that “My first professional job was with a group, Barbara and the Uniques, that had a popular record on the market. When Barbara got pregnant, they needed a lead singer. So, at 18, I became the lead singer for the group Diamonds, Rubies & Pearls. We toured with and opened for the iconic comedian Redd Foxx, and shared the stage with the Spinners, Vic Damone, and Doris Troy. Later, I toured with Stevie Wonder, Julio Iglesias, and Michael Bolton.”

In the male-dominated music industry, Windy has not worked with many women. However, she said, “In later years, I directed choirs for Reverend Shirley Caesar. Now, I work with Carla DuPree-Clark, Oya Thomas, and my Music Director, Dr. Gail Jhonson.” She admits that her approach with women is “more down to earth. I relate more to women because I know what it is like to be the boss. Sometimes, you must pull rank, while you avoid hurting feelings, or being labeled a female dog!”

Windy is aware of the challenges women face in the music industry that is still dominated by men. “Things have changed a great deal, since I started creating music. However, men underestimate the contributions that women make to music. As more women become educated in the field, we can stand toe to toe with our male counterparts. It is especially important that we learn about the business of music, so that we can express ourselves in terms that musicians understand. That’s how you experience greater success.”

MUSICWOMAN MAGAZINE 2025 - 22

Aside from teaching in China, Windy visited Cuba for the Havana Jazz Festival in January 2023. “I did not encounter many female musicians. The band they arranged for me was all male, and the performances I saw were comprised of mostly men,” Windy reported.

In 2024, she performed solo in Rio De Janeiro, Brazil, which was, according to her, “absolutely thrilling!” For Windy, “The music was soulfully driven. It was a real thing. When they played, they put their whole body, soul, and mind into each piece. I saw two female pianists. Overall, It was a rewarding experience, and I would love to go back.”

Al Nodal produced Windy’s concert in Cuba and organizes tours to Cuba. He sits on her nonprofit’s Board of Directors. So, she can go back there whenever she decides to. “I enjoyed collaborating with the musicians I met there. But I would love to record with other Cuban musicians, especially women,” Windy assured me.

She advises her young students to learn as much about music as they can. She said, “It is an incredibly competitive field, and if you stay prepared, you will be chosen, or you will be able to head your own organization and do it the way you want to. Information and education are paramount. Always be prepared for success.”

Windy City Entertainment, Inc. is a 501(c)(3) nonprofit organization. However, she does not have a working team helping to produce music festivals. Regrettably, she said, “I started in 2019, and was stalled by the pandemic.

The largest budget I worked with was $80,000. That will change, this year, because I applied for some amazing grants for workshops and fundraising activities. I am preparing for the epic 5th Annual San Pedro Music Festival on September 13, 2025. Everyone is invited!”

“I am honored to be the 449th member of Women in Jazz South Florida, Inc. and I wish you success in every venture you undertake. I hope my journey resonates with your readers and encourages them along their musical journey, or guides them to whatever greatness life has in store,” Windy offered.

Visit Windy’s websites: www.windybarnes.com and www.sanpedromusicfestival.com Dr. Gail Jhonson, Contributor Musicwoman Magazine, March 21, 2025

MUSICWOMAN MAGAZINE 2025 - 23

JNoa

La Niña del Freestyle, Rapper

Alih Jey

Singer-songwriter, guitarist

Nairoby Duarte Musician

south florida

since 2007

Her Rhythm, Her Roots by Steve Conley Well-Volution Global Network A Call to Celebrate the Legacy and Future of Women Musicians in the Dominican Republic The Dominican Republic’s musical heritage is renowned, globally, with genres like merengue, bachata, and dembow forming the cultural heartbeat of the nation. But behind the rhythms that define its identity lies a powerful, often under-recognized truth: women have been instrumental, literally and figuratively, in shaping Dominican music for generations. Yet, their names are not always the first ones mentioned.

A Hidden Symphony: The History of Women in Dominican Music

From the mountain towns of the Cibao to the vibrant barrios of Santo Domingo, women have long been cultural carriers, passing on musical traditions, while innovating within them. In the early-to-mid 20th century, a classically trained composer and pianist, Ninón Lapeiretta de Brouwer was among the first to integrate Dominican folk themes into symphonic compositions. Meanwhile, Monina Cámpora was revolutionizing music education by forming the country’s first all-women’s orchestra and founding arts institutions that still nurture talent today.

In the countryside, Fefita la Grande, known as La Mayimba, broke gender barriers by mastering the accordion and leading merengue típico bands, a role reserved for men, traditionally. Her legacy paved the way for modern artists like La India Canela, Nelly Swing, and Pamela Ulloa, who command stages once closed to them. In contemporary classical and global fusion, Aisha Syed Castro is an international violin virtuosa, while Xiomara Fortuna experiments with Afro-Caribbean rhythms, jazz, and spiritual storytelling. Meanwhile, younger voices like Tokischa, J Noa and Melymel use hip-hop and urban music to challenge societal norms, gender expectations, and political silence, proving that Dominican women are making music and shaping movements.

Why Now?

Despite their impact, Dominican musicwomen have rarely received the institutional recognition they deserve.

Music festivals center on male performers. Educational and financial support systems for female composers, instrumentalists, and bandleaders remain limited. Yet, the appetite for diversity, representation, and truth in culture has never been greater. It’s time to rewrite the score.

A National Celebration: The Case for a Women in Music Festival

The Dominican Republic is ready for a first national Festival of Women in Music, a vibrant, multi-day event honoring the past, present, and future of women musicians across all genres. This festival will • Spotlight living legends like Fefita la Grande and Xiomara Fortuna • Feature contemporary and emerging artists from jazz, reggaeton, dembow, classical, and fusion • Host workshops and panels on production, songwriting, music business, and instrumental mastery • Celebrate regional diversity by including performers from every province • Collaborate with schools and cultural centers to inspire a new generation of girls in music MUSICWOMAN MAGAZINE 2025 - 24

Her Rhythm Is Our Rhythm

When we honor the music of Dominican women, we honor the resilience, joy, and innovation of our nation.

Their stories are woven into our cultural DNA. Their voices have prevailed through hardship, revolution, celebration, and healing. This festival will not be just an event but a reclamation, a declaration, and a tribute to women who played for us, sang to us, and kept the rhythm alive.

It’s time the Dominican Republic celebrates them with the spotlight they always deserved

These artists exemplify the diverse talents and contributions of Dominican women in various musical genres, from traditional merengue típico to contemporary urban music. Explore their work and discover more about the Dominican Republic’s music scene!

Dominican Musicwomen

Fefita la Grande (Manuela Josefa Cabrera Taveras) Accordion

Rita Indiana

Singer-songwriter, computer music programming

Nelly Swing

Accordion, Bandleader

La India Canela (Lidia María Hernández López) Accordion

Ivanna Cuesta

Aisha Syed Castro Violin

La Inquieta

Drummer, Composer

Accordion, Bandleader

Pamela Ulloa

Tokischa

Accordion, Bandleader

Rapper

MUSICWOMAN MAGAZINE 2025 - 25

Xiomara Fortuna

Singer, Composer

La Princesa

Accordion, Bandleader

Melymel

La Mamá del Rap Rapper

FOR IMMEDIATE RELEASE

[Shreveport, LA] A new haven for musicians and gear enthusiasts has arrived in Shreveport!

Higher Octave Guitars & Gear, a specialty guitar store, is now open at 504 East Kings Highway, Unit A. Higher Octave Guitars & Gear offers an impressive collection of vintage, hard-to-find, and boutique guitars, amplifiers, rack gear, and effects pedals that are perfect for musicians seeking unique sound and high-quality craftsmanship. In addition to retail, the store provides custom sound setup services and professional guitar repairs, making it a one-stop destination for artists and collectors alike.

As an authorized dealer for James Tyler Guitars, Valkenburg Guitars, B-Custom Guitars, and Floyd Rose. Higher Octave Guitars & Gear offers musicians exclusive access to some of the most sought-after brands in the industry.

The store is open Tuesday through Saturday from 10 a.m. to 6 p.m. Whether you’re a seasoned guitarist, a tonechasing producer, or an aspiring musician, Higher Octave Guitars & Gear invites you to explore its exclusive selection and expert services.

For more information, visit Higher Octave Guitars & Gear, or contact us at 318-455-6452. Tania DeBlieux and Lance Thompson are waiting to serve you. www.facebook.com/higheroctaveguitars/

MUSICWOMAN MAGAZINE 2025 - 26

Who took that Pic?

Thank you Conquest Graphics for always supporting MUSICWOMAN & MUSICMAN MAGAZINES

PLEASE

VOTE

https://www.conquestgraphics.com/news/nonprofit-grants/2021-responses/nonprofits-2023/2023/02/22/women-in-jazz-south-florida-inc

MUSICWOMAN MAGAZINE 2025 - 27

Thank you for inviting us to participate in the 2024 Women In Jazz South Florida event and for the opportunity to raise awareness and support for the Ora Lee Smith Cancer Research Foundation.

The Ora Lee Smith Cancer Research Ambassadors proudly participated in the vibrant 2024 Musicwoman Festival, in October 2024, in Atlanta, Georgia. The atmosphere was electric, with a palpable sense of excitement as attendees came together to celebrate music and support a great cause.

At our table for the Ora Lee Foundation, we engaged with the audience, sharing valuable information about our mission and raising essential funds to advance cancer research. The warmth and enthusiasm of the Women in Jazz hosts, guests, and artists created an inviting environment for meaningful conversations.

Each musical artist brought their distinctive style to the stage, captivating the audience with performances that were entertaining and educational. The event was not just a concert; it was an enriching experience that celebrated the power of music, while promoting awareness for Women in Music and cancer research.

Everyone left with a sense of joy and purpose, reflecting on the impact of the evening.

Thank you for including the Ora Lee Smith Cancer Research Foundation in the inaugural 2024 Women in Jazz South Florida event held in East Point, Georgia. We’re looking forward to the next WIJSF event!

Sincerely, Pamela W. Goode Partnership Operations Coordinator Committee For Partnership Excellence OraLee.org Our Foundation #WeAreOraLee

MUSICWOMAN MAGAZINE 2025 - 28

south florida

since 2007

MUSICWOMAN MAGAZINE 2025 - 29

Mimi, Michael, and Joan (1980)

Betty Carter at IAJE Conference in El Paso, Texas (1993), where Joan was invited to present her paper The Sign of the Blues

Howard Moss (d), Eddie Crechetti (p), Bob Vandivort (tr), Joan Cartwright (v) at O’Hara’s, Fort Lauderdale, FL (1987)

MUSICWOMAN MAGAZINE 2025 - 30

Tales from the Dusty Trail by Joan Cartwright The kids and I lived in Florida from 1970 to 1976, until we moved up to Philly. The problem was, I wasn’t singing professionally, during that period. In 1984, when I first moved back to Florida, I feared that I had made a huge mistake by leaving the New

York music scene. The last time I saw Betty Carter, she advised me, “Joan, if you want to really make it, you’ve got to be in New York.” “But Betty,” I said, “I am New York!”

This is the truth. Everywhere I went in Florida, everybody knew I was from New York.

The accent is stronger than any other. Everyone recognizes a New York accent. So, I started frequenting jazz clubs in Fort Lauderdale and Miami. I sang with a trumpeter, Bob Vandivort, at Lauderdale’s premiere jazz club, O’Hara’s Pub on Las Olas Boulevard.

I did a commercial for the place and we packed the house every weekend. The music was swinging because of organist Eddie Crechetti and drummer Howard Moss. Bob’s playing wasn’t like Freddie Hubbard, but he knew a lot of tunes and gave me artistic license. The Florida crowd was there to drink, meet, drink and greet, not really to hear the music. They screamed so loud, sometimes, I couldn’t hear myself sing ballads. A retired trumpeter, Sonny said to me one night, “Joan, you know what you gotta do?” I said, “No, Sonny, what?” “You’ve got to get up on the bar!” I said, “You’re crazy! Can you see my big “A” up on the bar?” He just shook his head.

A few weeks later, I was wearing pants and decided that Sonny was absolutely right.

So, I jumped up on a stool, mounted the bar, and told the people, “You don’t want to hear any ballads. You don’t want to hear Ellington or Jobim. You all only want to hear ‘OOOOOOH, BABY’!” And the whole room turned to me and sang in unison, “OOOOOOH, BABY!”

Beau Rivage Palace, Lausanne, Switzerland That was the start of something BIG! I wrote these Blues tunes at O’Hara’s, Treat Me (1990)

Right (and you don’t have to marry me), (I Don’t Want) Nobody’s Husband, A Sweet Lovin’ Man, and Alley Cat (Bluesin’ the night away) for this woman who got drop-dead drunk every weekend. These songs followed me to Europe, where the audiences loved the Blues.

In July 1990, a lawyer I worked for, Michael Shienvold became my patron. He provided me with an airline ticket, an EurailPass for five days of travel, and spending money. I took off for the Montreux Jazz Festival in Switzerland, after contacting Michel Ferla, the Assistant Director of the festival to say that I would be coming there. Ferla arranged for a hotel for me and passes for the concerts and backstage.

First, I flew to Amsterdam because the ticket was cheap. I attended the North Sea Jazz Festival in The Hague for one night. This festival was incredible. There were 14 stages with continuous music from George Clinton and Funkadelic, John Lee Hooker, Max Roach, the Lionel Hampton Band, and too many more to mention. I saw some of my old friends from Philly, Tyrone Brown and Odean Pope, who were with Max Roach. I met some new friends from Hamp’s band who invited me to the Nice Festival in France.

So, I rushed back to my hotel, slept, packed my things, early the next morning, and jumped on a train for Nice. It was a 14-hour ride! After two days in Nice, I jumped on a 10-hour train to Montreux, Switzerland. That’s where the real magic happened! Read more: In Pursuit Of A Melody by Joan Cartwright MUSICWOMAN MAGAZINE 2025 - 31

Greetings from our board members!

Benefits of a WIJSF Membership

Women in Jazz

South florida Since 2007

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

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

We are excited to support the Musicwoman Festival and its mission to amplify the voices of female musicians and industry leaders. This event aligns perfectly with our values of diversity and empowerment, and we are honored to be a part of it.” ~ Her Excellency Shanta Lana Hereford, CoFounder and Managing Partner of Maverick Global Distribution

Musicwoman Magazine and Maverick Global Distribution Join Forces To Empower Female Musicians at The Musicwoman Festival

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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

#1 Amazon BEST SELLER

MUSICWOMAN Authors

CORNER

#1 Amazon BEST SELLER 3 weeks

www.drdonnasinger.com

south florida

www.ritagraham.com

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Dr. Joan Cartwright | wijsf@yahoo.com MUSICWOMAN MAGAZINE 2025 - 33

since 2007

RITA GRAHAM MEMBER

In Memorium: Roberta Flack & High Chief Nathaniel B. Styles, Jr.

R

oberta Cleopatra Flack (b.

February 10, 1937, Black Mountain, North Carolina, d.

February 24, 2025, New York City) was an American singer and pianist. Her #1 singles The First Time Ever I Saw Your Face, Killing Me Softly With His Song, Feel Like Makin Love, and Where Is the Love made her a soughtafter singer since the 1970s. She is the first and the only solo singer to win the Grammy Award for Record of the Year in two consecutive years.

She scored several hits from the 1970s to 1990s.

Although her debut album First Take (Atlantic, 1969) was appreciated, it was only when one of its tracks The First Time Ever I Saw Your Face was used in a film and aired on the radio repeatedly, that it became a smash hit, making her a national craze. She had several chart-topping duets with Donny Hathaway including Where Is the Love, Killing Me Softly with His Song, and Feel Like Makin Love. In 1979, after Hathaway’s demise, Flack found a new professional partner in Peabo Bryson and the two scored a hit with Tonight, I Celebrate My Love. She received numerous honors and accolades in recognition of her contribution to the music industry.

www.thefamouspeople.com/profiles/roberta-flack-9232.php

H

igh Chief Nathaniel B. Styles, Jr., The Nana Kwaku Ankibeahene II of The Ashanti Kingdom, The Otunba Fosungbade of Alayemore Ido Osun-Yoruba Kingdom W. Africa, (b. June 1, 1965, Pompano Beach, Florida; d. April 11, 2025, Accra, Ghana), was known as Chief Styles to friends and admirers. He was a descendant of Pharaoh Ramesis III. As a visionary of the State of Florida, he designated 43 city blocks in Miami as the African Caribbean Cultural Arts Corridor and Osun’s Village. Chief Styles created opportunities to bridge, exchange, and share experiences of mutual creative interest aimed at stimulating intercultural dialogue between children, teens, and adults of diverse cultural backgrounds, utilizing West African art and culture as building blocks to create synergy in connecting multicultural communities throughout South Florida, the African Diaspora of Brazil and Cuba, and West Africa, including Ghana and Nigeria. For over 25 years, Chief Styles was an accomplished international trade consultant, and designer and stylist of apparel for men, women, and children, home accessories, and furnishings that incorporated sustainably sourced indigenous textiles and craftsmanship. Through his companies, he imported, exported, and distributed products, goods, and artifacts throughout the United States and other countries.

MUSICWOMAN MAGAZINE 2025 - 34

Join us in Creating Change!

At Women in Jazz South Florida Inc, we know that change starts with people like you. Every act of kindness, every dollar, and every moment of your time brings us closer to achieving our mission. Together, we can create a brighter, more compassionate world for all.

How you can help power our mission: Contest for 2026 Cover of Musicwoman and Musicman Magazines. In 2025, Dr. Donna Singer conducted a fundraiser, raising $1,100 to be on the cover of Musicwoman Magazine. She asked the support of vendors she uses for beauty, business, and products. This was a successful process to bring funds into our nonprofit and put Donna on the cover of the International Edition of Musicwoman Magazine 2025.

AN WOM

USIC

o

he c

t to

an For 2026, we are conducting a contest to see who W raises the most funds to be on the cover of our 2026 publications. Each supporter must stipulate which artist should be on the cover!

nt be o

fM ver o

Thank you for supporting our mission to promote women musicians, globally!

Your support is invaluable.

Dr. Joan. R. Cartwright Founder, Executive Director Women In Jazz South Florida, Inc. 954-740-3398 wijsf@yahoo.com

DONATE

Donate for the Cover of Musicwoman/Musicman Magazines

MUSICWOMAN MAGAZINE 2025 - 35

6?

202

1st MUSICWOMAN™ FESTIVAL OCTOBER 2024

SIBONGILE BUDA & KIM CLARKE

MUSICWOMAN MAGAZINE 2025 - 36