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Since the arrival of the 21st century, jazz has evolved into a truly cross-generational, multicultural musical art form that is assimilating an unprecedented array of musical styles and techniques. At the same time, the male-dominated paradigm that has defined the historical narrative of jazz is no more. Women are shaking up the music industry while the general public is becoming much more aware of the contributions female musicians have made to jazz. "Freedom of Expression: Interviews With Women in Jazz," a collection of interviews with 37 female musicians, musicians of all ages, nationalities, and races, and representing nearly every style of jazz one can imagine, provides evidence of this...
Women in Jazz: Musicality, Femininity, Marginalization examines the invisible discrimination against female musicians in the French jazz world and the ways in which women thrive as professionals despite such conditions. The author shines a light on the paradox for women in jazz: to express oneself in a "feminine" way is to be denigrated for it, yet to behave in a "masculine" manner is to be devalued for a lack of femininity. This masculine world ensures it is more difficult for women to be recognized as jazz musicians than it is for men – even when musicians, critics and audiences are ideologically opposed to discrimination. Female singers are confined by the feminine stereotypes of their ...
This discography is successful in its attempt to `present a complete picture of women instrumentalists' recording activity from 1913 to 1968.' Jan Leder also shows the significant contributions made by women in jazz and their involvement playing jazz since its beginnings. The book contains two parts: Discography of Women in Jazz and Collective Section. The first section arranges names alphabetically by name of player with works arranged chronologically for each player. The second section is a chronological listing of recordings with two or more players. It gives date, place, name of orchestra, director, performers, recording titles, and company. Index of performers. An excellent resource on ...
Here, for the first time, is the rich and diverse history of women jazz musicians, from rural tent shows and local dance halls to urban theaters and the vaudeville stage, from the steamboats of St. Louis to wartime army bases, from big bands and small combos to the yearly Women's Jazz Festival in Kansas City and New York's Salute to Women in Jazz. Based on three years of extensive research and nearly seventy-five personal interviews, American Women in Jazz presents profiles of over sixty women, set in the context of the musical and social history of the times, many of whom have never before had a chance to tell their story or to speak as honestly, completely, and with such feeling as they do now.
Women have been involved with jazz since its inception, but all too often their achievements were not as well known as those of their male counterparts. Some Liked It Hot looks at all-girl bands and jazz women from the 1920s through the 1950s and how they fit into the nascent mass culture, particularly film and television, to uncover some of the historical motivations for excluding women from the now firmly established jazz canon. This well-illustrated book chronicles who appeared where and when in over 80 performances, captured in both popular Hollywood productions and in relatively unknown films and television shows. As McGee shows, these performances reflected complex racial attitudes eme...
The threads of Billie Holiday's mystique are unraveled in this study of a woman who needed to create art at any cost. Griffin liberates Holiday from stereotypes of black women and pries her away from the male tradition of jazz criticism while presenting Holiday's independent spirit. of photos.
The story, based on extensive individual interviews, of the women’s swing bands that toured extensively during World War II and after -- a kind of “League of their Own” for jazz.
This book is about women in jazz. It charts their journeys, celebrates their presence, hears their voices, wonders at their prowess and revels in their being. We hear from female agents, arrangers, composers, musicians, PR people, radio hosts, record label managers, singers, writers and more. These are their stories; their views of jazz and how they see the future. The established performers share their years of experience whilst those newer to jazz reflect on observations and changes they have seen. Containing interviews and first-hand accounts, this book is witness to the generosity, profundity and positivity with which women have responded and the energy they have put into their lives in overcoming challenges.
Stuart Nicholson's biography of Ella Fitzgerald is considered a classic in jazz literature. Drawing on original documents, interviews, and new information, Nicholson draws a complete picture of Fitzgerald's professional and personal life. Fitzgerald rose from being a pop singer with chart-novelty hits in the late '30s to become a bandleader and then one of the greatest interpreters of American popular song. Along with Billie Holiday, she virtually defined the female voice in jazz, and countless others followed in her wake and acknowledged her enormous influence. Also includes two 8-page inse.
Lindha Dahl offers a carefully researched survey of female participation in the history of jazz with indepth interviews and profiles of representative individuals. Includes an extensive discography and index.