Photo: Barbara Barefield
Aretha’s last drummer! www.musicwomanmagazine.com
Biggi Vinkeloe International President of WIJSF Global Dr. Joan Cartwright is an outstanding jazz singer and relentless advocate for gender equality for women musicians who perform, record, and teach within the field of jazz and other musical genres. She entrusted me with the position of International President for Women in Jazz South Florida, Inc. and I feel honored to represent this global organization of women musicians. This is the first, full-sized edition of Musicwomen Magazine. I was challenged to write an inspirational article to address the diverse, vibrant, active, and beautiful community of skilled and aware women musicians, and associated men, who work as singers, instrumentalists, composers, conductors, and writers. I know what inspires me and my work as a composer, musician, educator, and music therapist. We all have different agendas, when it comes to music. But we like to see smiles on the faces of those we perform with and for. That is how we know we have established a connection with them. As one of the few women saxophonists of my generation (60+), I perform, internationally, with musicians from different horizons in exciting genre-bending adventures. Besides numerous projects, a big part of my work is community-oriented. I teach saxophone, flute, and improvisation. There is not much media attention, large audiences, or big money in the field of improvisational music, instant composition, or avant-garde jazz. Instead, there is an intense focus on developing tools for composing music and for developing a space for experiences in an unknown territory. Albert Ayler said, “Music is the healing force of the universe.â€? This is a powerful statement that I share with groups I conduct in schools in Uganda, India, Sweden, France, and the U.S. The Stans Häftigaste Orkester (SHO) is the most amazing orchestra in Gothenburg, Sweden. It is a workshop orchestra with musicians from 25 to 80 years old. Most players are in their 60s. Teaching is based on doing, playing, listening, and imitating. It is a joyful experience that allows the participation of skilled and unskilled instrumentalists. What inspires me to keep on going is to find ways to be inclusive, communicate in a respectful and allowing environment, and create something bigger than myself.
Biggi Vinkeloe is a musician, composer, and educator in Sweden and California. She is a member of IMPRA, Sweden, since 2007, and the International President of the Board of Women in Jazz South Florida, Inc. (2017-2019).
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Carmen Bradford Basie’s Girl!
CONTENTS
50 Lady C in Shanghai
26 Jean Fineberg & Ellen Seeling
20 Andrea Brachfeld
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5
FROM THE EDITOR
6
International President’s Message
8
Don’t tell a man. Tell a woman!
9
Six Keys to Success
20
Andrea Brachfeld: Networking
24
Musical Life Partners – Ragan Whiteside
26
Montclair Women’s Big Band
36
Cover Story: Gayelynn McKinney
45
Healthcare in America
47
Opportunities in the Arts
49
Sandra Kaye: Jazz Vocalist in Asia
50
Lady C: Shanghai Musicwoman
60
Carmen Bradford: Basie’s Girl
68
Gail Jhonson & Jazz in Pink
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Don't Tell a Man. Tell a Woman! By Nika Rejto This article reflects my struggles and those of all women in the arts who must prove their worthiness and talent to secure a job that a man will most likely get. Women are still struggling for equality and respect! In the field of music, we are objectified, belittled, and taken advantage of with lower wages. Let's not forget the sexism that runs rampant in schools and the work place. As a classically-trained flutist turned jazz musician, I have woven those two genres together in this composition, integrating the old, the new, and the unknown, reflecting a positive change regardless of race, nationality, gender, or beliefs. Record companies insist on an artist being in one category. I am a musician, first and foremost. Many rivers of styles flow into who I am and that is what makes an artist – individuality - regardless of birth as a man or a woman. I believe women are passed over in jazz far more often than in classical or rock. I know what it is to prove myself as talented and worthy, and to put up with the hypocrisy and mistreatment experienced in schools and the workplace at the hands of men. It is a nowin situation. When I was asked if I was "good" and I replied, "Yes," then I was considered cocky. If I answered ”No”, then, I would not be taken seriously. Men have said to me, "I heard you from the back room. I thought it was a man playing!" I thought to myself, “Why would he think women could not play like a man?” Therefore, I repeat, "Don't tell a man. Tell a woman." This is a powerful statement to take women musicians seriously. Nika is the Vice President of the Board of Women in Jazz South Florida, Inc. She resides in Concord, California. Spring 2019 - 8
SIX KEYS TO SUCCESS For women musicians
WIJSF was founded in March 2007 by Dr. Joan Cartwright whose experience as a 40-year veteran of the stage led to her understanding that women musicians were severely marginalized in the male-dominated music industry. This awareness led Dr. Cartwright to pursue her doctorate in business administration/ marketing that revealed, over six years of research, data collection, and writing, that women could succeed by using six essential business skills:
1. 2. 3. 4. 5. 6.
Branding Marketing Networking Teamwork Negotiation Accounting
This section features submissions from members of WIJSF, Inc. to provide insight into the ways in which these women reached higher levels of success in their music businesses. Each skill is previewed from excerpts of Women in Jazz: Music Publishing and Marketing by Dr. Joan Cartwright. 9 - MusicwomanMagazine.com
1 - BRANDING [Excerpt from Women in Jazz: Music Publishing and Marketing by Dr. Joan Cartwright. pp. 40-41]
Branding is an important entrepreneurial skill for musicians to embrace. Khan (2009) held that a strong corporate identity assures a competitive edge. Corporate branding requires greater focus within the organization. Successful corporate marketing requires planning to take advantage of opportunities joined with core values while considering internal activities to ensure cohesion and consistency. A firm’s most valuable asset is a recognizable brand that consumers trust and desire. A company’s mission can attract loyal customers and supporters. The brand symbolizes the corporate values and its activities, not just what it sells. Strong brands generate growth and profitability. CEOs garner customer loyalty when they strategize to make their brand functional through emotional values that promise satisfaction (Gielens, 2012). Band leaders have the same charge to grow their fan base through brand recognition. Music organizations that brand themselves attract supporters who buy into the mission. For Khan (2009), a brand is a bundle of benefits that distinguishes it from competitors for consumers. Usually, the bundle includes physical attributes and product features like the logo, packaging, trademark, and performance characteristics. The intangible attributes include associations that consumers have with the product and perceptions of its reliability or other augmentations like customer support. Every successful musical entrepreneur is the actual brand and, as in any firm, the importance of the company brand and the position of the CEO toward branding and communicating to the marketplace the product, name, and brand personality is paramount. When consumers communicate through symbols such as a logo, the logo becomes a part of their self-image and identity. In music, a band’s culture shapes brand identity. Musicians can be branded as solo artists or as a group that performs a specific genre of music like jazz, bluegrass, or heavy metal. Cross-over musicians run the risk of blurring their brand. But crossing over to other genres can expand their audiences. The musician should understand that his or her company’s clear vision, mission, philosophy, and unique corporate culture require insightful corporate brand management.
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