HERSTORY 11/01/2011 |
Musicwomen around the world bring not only music to us but documentation of the phenomenon that music creates amongst people and nations. Read this article about Bickley Rivera, Steel Pan player and one of the talented composers on our compilation CD: http://landolakes.patch.com/articles/land-o-lakes-artist-helps-her-fans-chill The reporter wrote: "The
first true steelpan used by musicians was an empty biscuit container. The
next development was the discovery that when you hammered a paint pan out
from the inside, different notes could be played on the pan. Soon the bent
peace of steel gave way to the steel drum that could produce simple
melodies. The early steel pans made of paint tins or biscuit tins had only a
handful of notes. They were one foot in diameter and two feet long. They
were tuned to the highest upper pitch note the steel pan could produce. Responses from members about the origin of steelpan
in Trinidad
Sharon S. wrote: "I wanted to share
this article with you because this made me feel outrage, since it gave no
mention of the origins of steelpan or any of the pioneers. http://www.toucans.net/pan_history.html
Carol N. wrote: "I feel the same way as there was no mention of where steelpan originated, which was from Trinidad. I can send
you so much history about this great music and I am proud of our people
from Trinidad who because the slaves were free started this trend of music
as they were so grateful for the freedom."
Bickley wrote: "Thank you for your input
.
I know that the history of steelpan is so important and should be shared.
We talked about the history in my interview, however, the reporter chose
not to include everything we talked about, including some other
information. Unfortunately, that's the way it goes with
reporting, as it's sometimes the perspective the reporter wants to show.
My focus as a steelpan artist is to bridge the gap with other
music communities and show how such a beautiful instrument can be used in
many types of genres, and also give new listeners a fresh sound to
popularize. It gives them a great path to be able to question the
instrument and wonder more about its past. Seeing as the instrument
did not evolve from my personal history I have great respect for how far
it has come to its present time. It is truly emerging into a great
solo instrument that can be enjoyed in even more styles of music today!
I am glad that your links and info about the history is here for
other readers to view."
Sharon S. wrote on 2-14-11: "Thanks! you
[Joan] are
the best, it is one of those things when former slaves create; it struck a chord.
As we know with history, so many things black folks create, they take for
granted. I will forward her response to the folks who read, the
article."
Joan C. wrote on 2-14-11: Yes, Sharon, this is
exactly why I founded WIJSF and why we
need the input that you brought to this issue from ALL THE MEMBERS! Not only
have blacks been robbed of their musical innovations but women have been
omitted from the canvas of musical creation for centuries. |
Expatriate Musicians
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These women musicians were expatriates that moved to other countries because of injustices they, their families and friends experienced in the country of their origin.
Miriam Makeba, South Africa to USA
Nina Simone, USA to France |
|
Joan Cartwright, Executive Director
Women in Jazz South Florida, Inc. 2801 S. Oakland Forest Drive, Suite 103, Oakland Park, FL 33309 954-740-3398 | info@wijsf.org |
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Esperanza Spaulding on Alicia Keys, and her famous counterparts, "The industry has surrounded them with all of these superficial pyrotechnics and I think it's really sucked the life out of their creative spirit, and I find that really sad." Other Amazing Bassists
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Congratulations to
2011 Grammy Winner - Esperanza Spaulding
Esperanza Spalding: Grammy Award 2011 Winner For Best New Artist 02/14/11- The Huffington Post/AP
Esperanza Spalding may have won the Grammy for Best New Artist, but
some have reveled in her talent for years. A 26-year old, classically trained jazz/chamber music fusion
musician and singer, Spalding has been making headlines in the jazz
world since before her 2006 debut solo album, "Junjo."
Having attended the Berklee Academy of Music, where she immediately
became a professor after graduating at 20 years old, she began to
travel with well known jazz musicians -- and then, the President. Showing prescient hipness, President Obama selected Spalding to perform
at the Oslo City Hall when he accepted his 2009 Nobel Prize, as
well as at
a White House poetry jam. "Chamber Music Society" is actually her eighth overall
album, including her teenage band and collaborations with famous jazz
musicians. But she's still excited to be considered Best New Artist. "I feel really lucky that I got to be acknowledged on this
stage in front of so many people who hopefully will get to experience
my music, and I got there by doing what's really dear to my
heart," she told the AP after her win. To earn the Grammy, she beat out an impressive field, including
teen idol Justin Bieber, rapper Drake and band Florence + The Machine.
Beliebers, as Bieber's are known, hacked
into her Wikipedia page after the upset win, making changes such
as saying she won, "even though no one has heard of her." Clearly, that's not the case. NEW YORK -- From the time Esperanza Spalding appeared on the scene in
2005, the dynamic singer, bassist, composer and arranger has been
heralded as jazz's next big thing. Her impressive musicianship has won
her White House recital dates, praise from the likes of Stevie Wonder
and Herbie Hancock, and critical acclaim. But last year, as she prepared to perform in front of a huge
mainstream audience at a tribute to musical mentor Prince at the BET
Awards, she started to think about how the moment could catapult her
into pop stardom. "I was really on this mission, kind of in my mind, to figure out
how I was going to take my music and make it accessible to the pop
world. `How am I going to turn this into like an Alicia Keys
thing?'" she recalled thinking. But when she got to rehearsals with her famous counterparts -
including her idol Keys - she decided fame had somehow warped the purity
of their artistry, and she didn't want that happening to her. "Every person looked like a California raisin - this incredibly
delicious, tasty, captivating artist, who has a magnificent magnetism
and a unique flavor about what they do and who they are, but all of that
has just been sucked out in every direction. The industry has
surrounded them with all of these superficial pyrotechnics and I think
it's really sucked the life out of their creative spirit, and I find
that really sad," she said in an interview a few weeks after the
ceremony. "I decided that I was just happy to be a visitor from the
liberated realm of jazz, and I decided then, whatever happens, I always
want to be surveyor of the territory," said Spalding, who grew up
studying classical music in Portland, Ore., before switching to jazz in
her teens. "I want to be the one deciding what my art means, how
it's presented, even if that means not becoming a pop superstar." It turns out that being a surveyor has brought her closer to her
discarded goal. Spalding, who released her third album, "Chamber Music
Society," last summer, is a surprise contender for best new artist
at Sunday's Grammy Awards in Los Angeles. She's competing against a
field that includes Mumford & Sons, Florence & The Machine,
Drake and perhaps the most pop of pop sensations, Justin Bieber. She's
also set to perform on the show and host the Recording Academy's
pre-telecast ceremony with Bobby McFerrin. "It's exciting, I think it's inspiring for me. I guess I didn't
realize that on a broader scale people were aware of my music," the
26-year-old said last month. While popular audiences may just be getting to know Spalding, she's a
star in the world of jazz. Her previous albums have been strong sellers
and established her as the genre's bright future, and for good reason:
She's a multifaceted performer. When she's not wowing audiences with a
heavenly sounding soprano and scatting like the vets of old, she's
impressing them with her bass playing (she also plays other
instruments). So impressive were her musical gifts that after finishing
the renowned Berklee College of Music in Boston at an accelerated pace,
she became an instructor there when she was 20, making her the college's
youngest faculty member. Spalding expected less mainstream attention for "Chamber Music
Society," which blends her classical roots with her jazz world. "It was really focused on composition and the intimacy of
classical music and jazz-improvised music, and to me, that seems like it
would be received by a smaller audience, yet there it is with a
nomination on such a broad field," she said. Spalding is perceived as a long shot to win best new artist, but Gil
Goldstein, who co-produced "Chamber Music Society," is hopeful
voters will recognize her unique gifts. "I've been kind of joking, saying it would be nice that if once
in a while, the best new artist would be someone who reads and writes
(music)," he said, laughing. "It would be like a real breakthrough victory if she would win,
sort of like when Herbie won album of the year," he said, referring
to Hancock's surprise win in 2008 for the album "River: The Joni
Letters." If the upset does happen, don't expect Spalding to alter her musical
path. After her brief flirtation with wanting bigger stardom, she's more
determined than ever that the most important thing she can do is make
good music. "The music that I make is pretty sincere; it's from my heart and
I love it, and what just happened is more people have started to connect
with my heart, and I haven't followed some kind of marketing
scheme," she said. And she hasn't let her Grammy nomination change her life, either. "I'm going to buy a dress that I wouldn't have normally bought
to go to the awards ceremony," she said, "(but) I still take
the subway ... things are pretty much as they were before." |
Joan Cartwright, Executive Director
Women in Jazz South Florida, Inc. Women in Jazz South Florida, Inc. 2801 S. Oakland Forest Drive, Suite 103, Oakland Park, FL 33309 954-740-3398 | info@wijsf.org |