|
Post by AlanB on Feb 6, 2014 5:50:54 GMT -5
In Linda Dahl's excellent Stormy Weather; The Music and Lives of a Century of Jazz Women (Pantheon 1984) there's a photo of The Beryl Booker Trio, the bassist and drummer both being white and female. They are identified as Bonnie Wetzel and Elaine Leighton who toured with her in 1954. Can't seem to discover anything about this pair....but jazz isn't my forte.
|
|
|
Post by blueescorpio2000 on Apr 28, 2014 17:53:42 GMT -5
This documentary is on my wishlist,I'll buy when the DVD is released.
|
|
|
Post by Admin on May 13, 2014 11:15:00 GMT -5
Ella Mae Morse
Cow Cow Boogie - Freddie Slack & Ella Mae Morse (1943)
|
|
|
Post by rooster on Jul 21, 2014 16:04:37 GMT -5
I'd like to echo the suggestion of Mary Osborne as a great jazz guitarist to be on the lookout for. I would draw everyone's attention to a later period LP, "Now's The Time" (1977, Halcyon Records Cat. no. HAL 115), recorded by a one-off band put together by Marian McPartland (whom I'm sure needs no introduction from me). The group, such as they were, came to be in response to a request of Gene Shalit (of WNBC TV's Today Show) to McPartland to put together a group to appear on the Today Show. Play on the show they did. They then played only twice more. Both gigs were in Rochester, NY at The Monticello Room in 1977. One performance was video taped for a PBS program and the other was taped in the creation of this LP.
The band was comprised solely of female Jazzers. In addition to McPartland and Osborne, the combo was rounded out by Dottie Dodgion (formerly married to Alto sax player Jerry Dodgion) on Drums, Vi Redd (A fine Charlie Parker influenced Alto player) on Alto Sax and Lynn Milano (A newcomer to Jazz at the time) on Bass. a very swinging quintet, indeed. I could probably write a paragraph (at least) on all of these women but suffice to say they all should be searched out and listened to for their great ability.
Try this. it shouldn't disappoint
rooster
|
|
|
Post by asimov on Aug 4, 2014 7:35:12 GMT -5
From Wikipedia, Jutta Hipp Jutta Hipp (February 4, 1925 in Leipzig, Germany – April 7, 2003 in Queens, New York) was a jazz pianist who also had some success as a painter. She mostly worked in bebop and cool jazz. She first studied painting in Germany, but later played jazz during the war and she indicated jazz was important to her during that period. After the war she moved West due to the communist occupation of East Germany, and in West Germany she worked with Hans Koller for a time. In Germany she also led a quintet, Albert Mangelsdorff's brother Emil was one of the noteworthy members. In 1954 she played with Attila Zoller. Critic Leonard Feather was impressed with her work when he heard her in Germany and soon after she moved to New York City where she would spend most of her life. She initially drew some criticism from critics who felt she was too similar to her sponsor Horace Silver. In 1956 she played at the Newport Jazz Festival and did a studio album with Zoot Sims, which is considered possibly her best. The album is also considered rare, but a remastered edition from the Japanese division of Blue Note Records came out in 2003. She also worked for New York based trios. She had been determined to be seen as an equal to male players, but at the same time she felt intense nervousness playing with other musicians she admired. The anxiety the profession caused her led to her abandoning jazz in 1958 and from then on she made her living primarily as a seamstress. She also returned to her first interest of painting, and her portraits of various jazz musicians became popular with musicians. Although she maintained some contact with musicians, she had cut herself off from the music industry to the point that by 2000 Blue Note did not know where to send her royalties checks. Lee Konitz was one of a few musicians who kept in touch with her until her death in Queens. Hipp, died of pancreatic cancer on April 7, 2003, in her apartment in Sunnyside, Queens. She never married, but she did have a son, Lionel. After her death she became of some interest as a woman instrumentalist in the New York jazz scene.
|
|