The latest contributor to our ongoing dialogue with women jazz writers and so far one photographer, is author Karen Chilton. Among Karen’s notable contributions are books on the lives of two exceptional artists, pianist Hazel Scott and vocalist Gloria Lynne, who fit the bill of underrated/overlooked. I first met Karen at a Randy Weston book signing for “African Rhythms” in Brooklyn; later she contributed to our Ain’t But a Few of Us conversation with African American jazz writers, and here she returns for one Woman’s Perspective on the challenges of writing about jazz music.

Please list your writing affiliations and any books or other projects you’re working on currently that you’d like to mention.

HAZEL SCOTT: The Pioneering Journey of a Jazz Pianist from Café Society to Hollywood to HUAC (University of Michigan Press) by Karen Chilton

I WISH YOU LOVE by Gloria Lynne & Karen Chilton (co-author)

AIN’T NOTHING LIKE THE REAL THING: How the Apollo Theater Shaped American Entertainment (Edited by Richard Carlin and Kinshasha Holman Conwill) “The Empress Bessie Smith” by Karen Chilton (contributor)

Current work-in-progress: CONVERGENCE a stage play by Karen Chilton (Note: The lead male character is a jazz pianist. Looking forward to collaborating with Jonathan Batiste on original compositions for the play).

What has been your experience writing about music in general jazz in particular?

For me, this work has always been a labor of love—heavy on the labor, deep in love. You go into it knowing that your subject matter is not mainstream, that this is not a commercial pursuit. There will be no significant capital gains, no record-breaking book sales, no swarms of recognition… Generally speaking, when it comes to jazz as a subject, publishers are difficult to secure, the amount of distribution your book receives can be a challenge, and the marketing/p.r. will likely be up to you. So, once you’ve faced those realities, you adjust your expectations appropriately, and write the best book you can for that small but devoted audience that you know will appreciate your efforts. For those of us who truly love the music, writing about jazz and its legends is a privilege. The experience, I suppose, is a duplicitous one — a sometimes thankless job that you’re eternally grateful to be doing.

What was it about writing about music that attracted you to this pursuit initially?

I quite literally fell into this work. I am an actor & writer…and an avid music lover, jazz in particular. I moved to New York from Chicago in ’92 to pursue a career in the theater. Just weeks prior to my big move, I wrote a ‘letter to the editor’ of Mirabella magazine after reading an article about the great Senegelese artist Youssou N’Dour. The writer of the article had gone on a diatribe about how African Americans don’t support African music. Long story short, I offered another perspective on the situation, and it was published in the next issue. At the time, Spike Lee was working with N’Dour and had just produced a video for him. Someone from Spike’s camp saw my letter in Mirabella, and contacted me to thank me for writing what I did. I told her I’d be moving to New York in just a few weeks to begin my acting career, as well as my day job as a contributing writer for DIASPORA magazine (formerly CLASS magazine). She suggested that we meet and arranged for me to interview Youssou N’Dour! An auspicious beginning, to be sure. The piece was well-received by an international readership. From that point forward, the publisher asked me to focus primarily on music for the magazine. Writing about music felt like the most natural thing in the world. I continued with features on artists like Seal, Sade, and Jon Lucien. By the time my first book opportunity rolled around (many years later) with jazz vocalist, Gloria Lynne ["I Wish You Love"], I had dozens of music articles to present as a ‘track record’ to publishers. Although I didn’t necessarily set out to do this work, I’ve welcomed it as one aspect of my artistic life; a great departure that, in many ways, helps ground and balance everything else.

Oddly enough, it is the actor in me, not the writer that is intrigued by the lives and careers of performing artists. It is an incessant curiosity about what makes performers tick, what makes us get up on a stage and do what we do; a curiosity centered on a performer’s instincts, our impulses. The stories of African American performers, past and present, are an endless source of inspiration. Even with regard to my recent work writing jazz memoir/biographies, it has all been fueled by my actor’s inquisitiveness. It is a character study. And once the writing is done, the hope is that my curiosity results in some compelling storytelling. Storytelling is how I tend to look at both careers as an actor and a writer. They are extensions of one another. Now whether the story I want to tell reveals itself as a book, a play, or a poem is not up to me, and I know better than to question it. Essentially, whether it’s on the stage or the page, it is the expression of the same gift. In fact, it was Youssou N’Dour who said to me all those years ago: “We are both griots.”

Would you describe your experiences writing about music as overall positive, and if so why or why not?

It has been a positive experience by virtue of the fact that I get to do it. There are worse ways to spend your time than having stimulating conversations with great musicians who are passionate about their life’s work, digging through the archives of vintage magazines and photos romanticizing about an era gone by, researching, writing and contributing a little something of your own to the jazz archives. Yet, it’s not been without its challenges. Because I am not affiliated with any organizations, universities, newspapers, magazines or media outlets, it is the one area of my career that is almost entirely autonomous. I choose my own subject matter—write what I want, when I want. I don’t have to wait on a phone call to be given the greenlight to put pen to paper. It only gets dicey when I have to pitch my work to the publishing industry and get them to co-sign my ideas. Without those aforementioned affiliations, my credibility is always in question. It takes a tremendous amount of patience having to prove yourself repeatedly in an industry where, with every published project, you think you’ve gained some ground… until you discover you’re back at square one. And I do believe that has a lot to do with the industry’s lack of interest in jazz writing in general because of its limited commercial appeal.

I’ve worked with large and small publishers and for HAZEL SCOTT, a university press. The frustration was the same. Writing about jazz, I’ve always gotten the sense that there is a presumption, whether it’s unspoken or not, that a woman writer’s understanding of the music and ability to write about it is limited. It’s a subtle thing. It can mean that after you’ve done all your homework and presented a solid draft, an editor feels he has to school you on some names, dates, or events that you may have left out. Or in your pitch to publishers, you realize that you’re in there trying to convince them not only of the validity and worthiness of women in jazz as a subject but also your ability as a woman to write about the subject. My experience has been tainted by both gender and racial bias. I recall during my Hazel Scott journey, an editor remarked: “This is a great idea for a book… it would be a great book, if it was written by someone else.” Well, someone else like whom? Why wouldn’t a Black woman writer be trusted to write the life story of another Black woman? Is our history, the history of Black music, our people, our artists, not safe in our own hands? All of these issues have come into play for me throughout my journey as a writer. It’s the dicey part.

Women occupy an interesting place in the jazz pantheon; on the one hand women instrumentalists are in the distinct minority, at least as far as prominence, and on the other hand women absolutely dominate the ranks of jazz singers. What’s your sense of that imbalance?

Patriarchy. It is simply a reflection of the larger patriarchal society in which we all live. Jazz remains male-dominated, male-centered, male-identified. Historically, women have been expected to look pretty and sing with the band, not swing with the band. That expectation, I think, still persists. No one expected a beautiful woman to pick up a trumpet and blow like Valaida Snow did back in the day. It was considered less than feminine. Not women’s work. It has so much to do with our definitions of the female role in society. When you consider the fact that quite a few legendary jazz vocalists like Sarah Vaughan and Carmen McRae were very fine musicians, you have to conclude that they did what was necessary in order to have lasting musical careers. Of course there are exceptions, Mary Lou Williams, Hazel Scott, Marian McPartland, Dorothy Donegan, and the popular all-girl orchestras that were the rage in the 1930s and 40s. But their stories are filled with the trials and tribulations associated with being female musicians in a male-dominated industry. Even today, it must be difficult terrain to navigate for women instrumentalists. When you look at the success of Esperanza Spalding, who is both a wonderful vocalist and musician, you wonder how that career would have unfolded if she had just played the bass and never sang a note.

Would you describe yourself as a music critic or a music journalist and why?

Neither. I often feel like an interloper. I’m definitely not a music critic—I listen to what I like and, admittedly, I’m far too in love with the subject to write objectively about it. A journalist, definitely not. I am simply an artist who writes to support my acting habit. My tendency to write about jazz and include jazz in many of the creative works I develop is out of a deep passion for the music.

Its been suggested that one of the real keys to solving the critical jazz audience development issue is that those who present the music must find creative ways to attract more women to their audiences; some wisdom suggesting that where more women go, men will follow. Is this an apt characterization of the jazz audience conundrum, and if so are there elements you might suggest to those who present jazz as to better attracting women audience members?

Quite honestly, I haven’t really looked at the audience development issue from the vantage point of gender. I’ve always looked at it from the perspective of race. I’ve spent more time contemplating why there aren’t more African Americans in the audience at jazz concerts than why there aren’t more women. When I frequent Dizzy’s Club or Jazz at Lincoln Center or the Newport Jazz Festival, I see plenty of couples; what I don’t see is African Americans in large numbers.

I’m interested in exploring what efforts can be made to generate more interest in the music among the American masses. Perhaps it’s a matter of marketing. Maybe the promotion of new jazz recordings, jazz festivals and concerts needs to be re-worked to target a wider audience and not just the tried-and-true devoted jazzbeaus. Jazz has a tendency to come across as a unique, elite world. Not everyone feels welcome. [Editor's note: I'm reminded here of poet Sekou Sundiata's line about how he wasn't into John Coltrane at first because he felt he needed "...to belong to something..." to get Trane] Or perhaps they’ve lost interest. Maybe it’s an image problem where the general public doesn’t view jazz as being new or modern or progressive. And certainly jazz labels aren’t able to spend the major dollars that commercial labels spend to promote their artists. I’m grasping at straws here because it’s a puzzling situation, and I’m afraid I don’t have a cogent answer.

This question also leads to a larger discussion about what is and isn’t jazz. I’ve noticed that many of the festivals promoted as “Jazz Fests” in major cities are really not jazz at all. The lineup is full of more R&B and Soul artists than legit jazz artists. So, the term is used so loosely which further complicates marketing and promotion efforts. You don’t always know what you’re getting.

There does seem to be some new excitement among younger audiences now with the ever-expanding popularity of artists like Esperanza Spalding and Robert Glasper. I’m also inspired by the young lions on the scene Jonathan Batiste, Aaron Diehl, Kris Bowers, among others. There’s hope, yet.

Clearly writing about music, and particularly writing about jazz, could well be characterized as “a man’s world.” Do you feel like that’s due more to the nature of the music or to some form(s) of overt exclusion from “the boy’s club”?

It’s definitely not the nature of the music. Music has no gender.

Nevertheless, it was once suggested to me that jazz is a medium that demands a certain male energy, a kind of high-testosterone virility that’s needed to really handle an instrument that women simply don’t come by easily; that female sensibilities are better suited to song, interpreting a lyric, bringing emotional depth to a tune… unless she’s playing an instrument that is considered more feminine—a flute, perhaps, or a harp, a violin. Now, I thought this comment was rather absurd but, again, I think it comes down to our perceptions of the female role in this music and in the larger society in general that frames this discussion. Where do we fit? Who gets to judge? And in the final analysis, does it really matter as long as the end result is great music? I mean, is there something particularly masculine about the sound of Oscar Peterson and specifically feminine about Mary Lou Williams?

Early in my career, a literary agent asked me why I bothered writing about jazz—“You can’t make any money off of that,” she said. “And besides, all those books are written by European men anyway.” So, according to her, it’s not just a ‘boy’s club’ –it’s male, white, and probably not even American. Her comments stayed with me for awhile, and I don’t think she was totally off base. The suggestion here is that people from other nations might have a greater interest and respect for this American music form than we do.

While I don’t think there is any overt exclusionary process keeping women from writing about jazz, I do believe there is an expectation that writers on the subject should be men.

Have you ever found it more difficult to pursue writing about music due to gender issues? If so please detail some of your writing experiences that may have been fairly or unfairly colored by gender.

Proving gender bias is a delicate matter. It’s rarely overt, like modern racism. It comes at you ever so subtly. It’s having your ideas dismissed before they are even given careful consideration. It’s being condescended to as if you aren’t fully capable of handling the task at hand. It’s how something is said, not necessarily what’s being said that can leave you feeling like you’re merely being tolerated, not respected. I remember when working on HAZEL SCOTT, the editor wanted me to “hurry up and get to the music.” Well, I had access to Hazel’s personal journals and she spent a great deal of time writing about her childhood. I recognized how important her upbringing was to her overall success so I wanted to honor that in the book. The editor felt that the early chapters were “too precious” but I’m writing about a child prodigy—so, how can I skip over the childhood? And why should I? What’s the rush? Is it the page count? I’ve seen biographies on male musicians that were four and five hundred pages long, why do I have to get this woman’s story in under 300 (including the source notes, bibliography, and index)? We worked through it but I did feel a certain kind of impatience coming from the publisher’s end. Fortunately, we were able to find a middle ground, but I STILL wish I had a few more of her wonderful childhood stories in the book that were cut. Here I am years later, mourning that 100 pages that were crossed out with red marker. Oh well.

A more egregious experience was when a writer contacted me by phone and asked if I could help him with some research for a book he was writing on a lesser known jazz musician, a sideman for many greats. I’m typically more than happy to help out a fellow writer, but how this writer found me was a bit shady. Turns out, his editor had GIVEN him my book proposal for HAZEL SCOTT. A proposal he had in his possession because the publishing house had passed on my project. Apparently, they found my work very thorough, well-researched and well-written and believed that this first-time author could benefit from my expertise. Now. Let me get this straight—the same editor that passed on my project somehow thought it was cool for him to pass along my book proposal (full of five + years of research), photos, marketing ideas, endorsements, contact information, etc. to a writer whose book idea he did choose to publish? I was expected to graciously assist this first-time author writing a biography about a lesser-known sideman who landed a deal with a major publisher who passed on my project but thought I was just the person to help HIM? I still can’t fathom why either of them thought this was anything but insulting. Needless to say, that was a very brief conversation.

What can be done to encourage more women to write about music in particular, jazz in general?

For us girls to keep doing what we’re doing. I’ve seen firsthand what a source of inspiration we can be to other women when we show up at book signings and events where they can see us, hear us, read our work. There is a certain level of camaraderie that exists among women writers. While I may not be able to hook up a fellow woman writer with an agent or a publisher (as I’ve often been asked to do), I can give her the lowdown on how to navigate the terrain, real information that can help light the way.

What have been some of the most personally satisfying music performances you’ve either written about or simply experienced over the last year?

In the last year, I can only recall experiences. It’s been a minute since I’ve written about jazz. One of the most amazing concerts I attended was the tour de force duo of pianists Jonathan Batiste and Aaron Diehl at Dizzy’s Club. Aaron reminded me of what it must have felt like to see Billy Strayhorn or Teddy Wilson back in the day and Jonathan is such an original character, so adventurous and ambitious, an old soul with a youthful spirit. It was wonderful. Roy Hargrove at the Village Vanguard last year also blew my mind. I’m a huge fan of his. Huge. In fact, I wrote HAZEL SCOTT to his album ROY HARGROVE WITH STRINGS. I listened to it over and over for hours each day. There was something in those arrangements that was comforting, not at all distracting. And Wynton Marsalis’ MIDNIGHT BLUES which is also trumpet with strings that I listened to repeatedly during that process. Why I chose to listen to trumpets while writing about a pianist, who knows…

https://www.facebook.com/pages/HAZEL-SCOTT-by-Karen-Chilton/55046547398?ref=hl

After many years of writing record reviews I’ve largely grown rather weary of that particular jazz journalism exercise; and that also includes reading record reviews, which I assiduously avoid – with the exception of what I refer to as DownBeat’s monthly gang review, you know the feature where several of their writers have at the same records. Some of those guys stylistic proclivities are so predictable as to be almost comical. For example I think they assign John McDonough to review anything edgy just for grins.

Every now and then the need does arise to make observations, point out extra-musical disparities and make suggestions to young artists on their recording projects. The digital age along with the death of record companies and retail record stores has necessitated an exponential increase in the number of artists making their own records. Coupled with the fact that musicians are more compelled than ever to have that record-as-calling-card to substantiate their artistry, and the instant bandleader/record date compulsion sans the old school apprentice system, there seem to be more record releases than ever. But the fact remains, there are a significant number of new records these days that need never have seen the light of day, and wouldn’t if they’d been subject to a label’s measure of quality control. And then there are many cases where the artistry has merit, while the delivery system is flawed, sometimes perhaps even to the detriment of that artistry and the artist’s ultimate career arc; still some young artists often seem a bit oblivious to their need to be more informative in their packaging.

You’ve heard the moan from this corner before. It goes something like this: as a journalist, jazz broadcaster (40 years at the mic in 2013), and concerts/festival presenter I’m privy to all manner of new releases, ranging from the way less than ready-for-prime-time to true masters. Much of that recorded output is the product of artist entrepreneurship necessitated by the scarcity of solid labels; i.e. those with significant – even distinguished – catalogues are very few and far between. (And we’ll pause here for a moment’s reflection on the current sad, pending Universal takeover of EMI, which will in all likelihood negatively affect one of the last great jazz imprints, the legendary Blue Note label; perhaps even shoving the great emeritus exec Bruce Lundvall out to pasture.)

You may have read my moans in IE, from a radio broadcaster’s perch, on the dearth of information offered by independent artists producing their own product. Much of that product now comes sans the admittedly costly, but nonetheless handy-dandy CD booklet; the resulting sparsity of information is often quite off-putting. Not to get too picayune, but this information disparity even comes down to the lowest common denominator of simply giving yourself a label name. C’mon people, even if its Cat & Dog Records, or even more simply put – your own name for an imprint for goodness sakes – there are those of us out here who still catalogue recordings and even more importantly, radio show hosts who are required to log their playlists in a computer database called The Copyright Confessor that enables the Soundscan system. Yes folks, surprise surprise, that system does have a line for Label name, and when left blank due to no label name provided, it leaves a small loophole in your access to airplay reporting.

With these issues in mind, here are a dozen recent independent releases, most of them artist-driven productions, that have come across my desk and sparked interest over the past few months. Let me first say that in each case, there are musical gifts to be found in these grooves; I’m not going to waste your time or mine with musically bankrupt releases. Each of these recordings have been the subject of spins on my weekly radio show Ancient/Future on WPFW 89.3 FM in Washington, DC, 5-8:00am on Thursday mornings, streaming live at www.wpfw.org. The program is called Ancient/Future precisely because the first 90 minutes are devoted to classic, back-catalogue recordings and fairly regular single artist or band profiles; the last 90 minutes feature the weekly SoundViews new/recent release spotlight from 6:30-7, and from 7-8 it’s What’s New/The New Release Hour. Here’s some music of merit that has crossed my playlist over the last few months, including a few info warts. Just for clarity, if I may reiterate: these are not record reviews; just consider them constructive observations from several different angles that potentially impact an artist’s career.

Pianist Enoch Smith Jr., who is apparently based in Brooklyn though one can only surmise that by the familiar urban landscapes in the CD photos, has assembled a tight young quartet of musicians who sound inevitably influenced by the hip hop of their generation. Rest assured they are definitely a modern jazz crew that pretty much focuses on Enoch’s originals, though he does have the savvy to include an arrangement of the familiar Lennon-McCartney “Blackbird” for those radio types who may encounter this release on the fly and not quite know which track(s) to feature, or the tenderfoot listener looking for a tune to hang his/her hat on. This radio type chose the compact “A Misfit’s Theme” and “Bring it On Home” for radio. But as with so many young indy artists there are packaging disparities. For example, unless you’re privy to a publicist’s one sheet you’d have a difficult time determining exactly who this Enoch Smith Jr. really is; and PR one-sheets aren’t made available on the gig where Enoch will likely generate his best sales. Where a nice, tight biographical paragraph would have served that purpose, we get one of three posed band shots and a panel whose graphics are difficult to read even for the sharpest of eyes. (Was the art director vision-impaired?) And the disc itself, while thankfully including the leader’s name and album title, could have used a simple track listing. And no discernible label name, though the copyright holder is Music4mypeople Ent. Is that your label name Enoch?

Marshall Gilkes is one of the most facile, impressive young trombonists on the scene today. I first heard him with the crafty Columbian harpist Edmar Castaneda at Danilo Perez‘s festival down in Panama and have followed his arc ever since. This Philadelphia native plays with power, passion and impressive dexterity, and an expressiveness that has only grown in the ensuing years since I first heard him. Joining Marshall for this outing is the fine tenorman Donny McCaslin, plus piano, bass & drums. The program Gilkes has written for this record feels suite-like, including the two pieces I chose for radio play, the aptly-titled “Slashes,” and “Thruway.” Also included are two parts of a piece titled “Armstrong” that may or may not be a tribute to Pops, but unless you see Marshall somewhere soon, you may never know. Besides the cover and back panel this package has 4 inside panels; one band collage and two with the band in action at the prestigious Dizzy’s Club. Nice photos, but Marshall would have benefitted from even cursory liner notes, or even better some bio paragraphs and perhaps the artist’s description of this date (for example McCaslin has some notoriety, not so much the other players). Fortunately Marshall’s web site (marshallgilkes.com) is prominently displayed, but curiously when one visits the label (Alternate Side) web site one encounters a frustrating “Website coming soon” notice that was posted in 2011!! And once again, no track listings on the disc itself.

Trumpeter Marquis Hill is a promising new voice out of Chicago. How’d I know that? It took some digging, with very little light shed in his CD package. I should note again here that due to my work I’m most often privy to at least a one-sheet from a record publicist that generally supplies me with all the background I need. But viewing these things from the standpoint of a consumer – perhaps even someone who buys this disc from the leader at one of Marquis’ sets – one is hard-pressed for thumbnail bio details on this still fairly new artist, and his cohorts – all of which are new to me. Hill has gathered a robust crew of two saxes, guitar, bass and drums to explore this program of originals. And here I’ve gotta say that I’m sorry, but very few young artists have mastered the composer’s craft quite fully enough to warrant producing a complete album of originals. Young artists really need to give the potential listener at least a smidgen to hang their hats on, whether its a standard, an oldie pop tune, or a cleverly arranged contemporary hit. For airplay I chose the warmth of “Autumn,” with its subtle shades of Ahmad Jamal. This is one of those single pocket packages with good, clear graphics and all the vital credit stats, but again no sense of who Marquis Hill is, save for a shadowy, too-dark, be-shaded cover photo; and no discernible label name.

Henry Cole (pron. Cole-A) is an exciting young drummer from Puerto Rico who mightily drove the band 90 Miles (featuring David Sanchez and Nicholas Payton; Stefon Harris was MIA, deservedly home celebrating the birth of his son) at the recent Monterey Jazz Festival. Adept at Afro-Cubana, Henry Cole calls the ensemble represented on this disc The Afrobeat Collective. To its credit the Collective includes some pretty significant contributors, including homeboys Sanchez and Miguel Zenon, plus John Ellis on saxophones, guitarist Adam Rogers, and the versatile violinist Jenny Scheinman. But the Spanish-challenged will be hard pressed to completely grasp the notes, which are delivered in alternating Spanish and English, but mainly the former. And that’s cool, Spanish is after all Mr. Cole’s first language; but my guess is he desires plenty of well-deserved recognition for this exceptional disc stateside as well, so be more mindful of that next time Henry. He does include a panel of bilingual interpretations of where he’s coming from with this music, so good on you for that Henry. And the disc itself includes leader and ensemble name, the album title twice (once in fancy font), and – kudos – a complete track listing; no discernible label name. The airplay choice here is “Musica Para un Sueno.”

Houston drummer Reggie Quinerly delivers on a theme of “Music Inspired by Freedman Town.” He’s chosen an estimable cast of musicians, including pianists Gerald Clayton and Enoch Smith Jr., bassist Vicente Archer, brawny tenor man Tim Warfield, searching Mike Moreno on guitar, and a trumpeter you may need to catch up on, Antoine Drye. Freedman Town was a post-Emancipation, mixed race settlement founded primarily by African American Houstonians, which eventually became the Houston community with the largest concentration of black homeowners. And how do I know this? Because Reggie Quinerly, besides being a skilled trapsmen, was very thoughtful in including a 4-panel booklet that not only details his thematic impulses, but also provides thumbnail sketches of the movement of each of his originals. And for good measure he includes new arrangements of the standards “I’m Old Fashioned” and “Sentimental Journey.” Inside the package has two outstanding period photographs of Freeman Town residents and a graphically artful panel listing each track. And a label name! Reggie Quinterly gets it! For airplay I chose “Freedmantown Interlude,” with the leader’s understated capsule of the community, followed by “2Xylent Letters.”

With the developmental arc of Gregory Porter, Jose James, and coming up behind them Milton Suggs, we may be on the cusp of a promising new crew of male voices at long last. Add to that list the single name Abiah. Is this cat Brazilian, with their proclivity for the single name? Where’s he from anyway? One would never know from the sparse preview disc that came my way; one with a lone cover sheet encased in a slim plastic jewel case, with the aspirant balladeer pictured contemplating a Yamaha piano and a glass of water perched on an adjacent stool, which I suppose suggests studio shot. On the back panel we learn that this is indeed Jeremiah Abiah and that the record is produced by the skilled young drummer Ulysses Owens Jr. (Full disclaimer, this is the press preview copy of this package; but it sure could have been more revealing.) In addition to Owens, Abiah works with a notable cast of peers that includes pianist Robert Glasper and guitarist Marvin Sewell. Not necessarily a straight ahead jazz singer, Abiah does have jazz chops. He’s remindful of other beyond category singers like Jon Lucien and Terry Callier, singers nonetheless always at home in a jazz-based format. Not only does Abiah sing well, he knows how to select material wisely as well, and he delivers a lyric with elan. For example, dig his new-day take on Prince‘s classic “When Doves Cry” that morphs into “Doves” for this date; I also chose “Goodbye”, the “September” reprise, and “Turn the Light On” for airplay as well. Once again, a disc without a track listing, which is an essential element in a new artist’s package; hopefully the finished product will be more informative. Hopefully we’ll hear – and learn – more about this talent.

Brian Settles is one of the most thoughtful, exploratory young saxophonists on the burgeoning DC music scene. But you wouldn’t know that from his record package. This is a sparse, 4-panel cardboard package that screams economic caution, providing no real sense of our leader. Granted, the back panel includes his quintet mates and the track titles for this program of originals, as well as the www.briansettles.com website listing, and complete credits – including a nice nod to the influential late saxophonist-educator Arnie Lawrence – but again, just a paragraph of notes on exactly who Brian Settles is, along with some sense of what he had in mind for this release would have been very helpful to the consumer. Again, no track listings on the disc itself (this ain’t difficult to achieve folks). But there is a label name and it’s Engine. To best define Brian Settles’ robust saxophonics, for airplay I chose the opener “Bison” (tribute to Howard University?), and “Gardenia” (tribute to Billie Holiday? Ask Brian, you won’t find out from his packaging).

Tenor and soprano saxman Kenneth Whalum 111 is the latest in the impressive Whalum family of Memphis, TN, including Kenneth’s uncle, saxophonist Kirk Whalum. But whereas Kirk comes from a soulful R&B and gospel essence, Kenneth is a jazzman straight outta hip hop. In fact his presence has enhanced such forward motion hip hop standard bearers as Common. And to bring the proper flavor from those experiences along with his jazz chops Whalum keeps good company: piano-keyboardist/co-producer Robert Glasper (who may be just about to add ace producer to his credits; witness Lionel Loueke‘s latest), Chris “Daddy” Dave, who along with Karriem Riggins has most effectively brought hip hop drum sensibilities to jazz landscapes, and versatile bassist Derrick Hodge. First hearing Whalum with peer pianist Kris Bowers, I was immediately impressed with the subtleties of his approach to the tenor. Here he makes very effective use of sampled voices dropping wisdom, including his dad Rev. Dr. Kenneth Whalum Jr. sermonizing, as well as historic voices for change. There’s a sense of the episodic in these tracks, a forward-motion kind of drama, like the suspended animation of the tone poem “Gratitude to Crystal.” Again, we sure could use a track listing on the disc. Otherwise the graphics are perfectly legible and logical, but again he could have benefited (or more importantly, the listener could have benefited) from a bit of bio information, rather than having to surf the web for his My Space and Facebook pages, and Twitter feed, which get prominent listing.

The cleverly named Honey Ear Trio is a cooperative ensemble consisting of saxophonist Erik Lawrence, bassist Rene Hart, and drummer Allison Miller. The presence of Allison Miller always guarantees a certain sense of intrigue and strong playing and this quirkily-titled disc is no exception. And just how do I know this is a cooperative trio? Frankly you have to surmise that by the band name and the sense of collectivity and shared leadership you hear readily in the music, which is well worth your attention. However when players come together like this, some sense of graphic explanation is desired by the consumer. The package is artful enough, but lacking in info beyond the essential. Give us at least a paragraph of notes people? Where’d that band name come from anyway? I suppose you can visit their website www.HoneyEarTrio.com for that background, but what if you’re on the run – or sans computer for that matter? Don’t take your listeners for granted Allison (addressed to her because the imprint Foxhaven has been her record date home in the past). For airplay I chose the title track “Steampunk Serenade” (what’s a “Steampunk” Allison? Help a vet out here!) and “High Water,” even though neither the package nor the disc give one any sense of exactly who contributed the compositions. And again, no track listing on the disc itself.

Tenor & soprano saxophonist Dudley Owens and bassist Aaron Wright have teamed up for this ultimately rewarding disc, one which is not exactly an independent artist production but stems from the growing promise of Chicago-based Origin Records (OK, so I cheated a bit on the last disc!). Almost immediately I was impressed with Owens’ robust, expressive tenor sax work, particularly engaging at slower tempos – ala Wright’s original “Magnolia” (one of two tracks selected for Ancient/Future airplay) and the spiritual realization of “Prayer.” Owens is more Coleman Hawkins than John Coltrane – with even a hint of Shepp – which is a refreshing switch for his generation. The other selected track is Owens’ tune “Y.A.G.M.G.D.”, though no explanation is offered for that abbreviation. And exactly who are these guys? As I said, in the past when an artist reached the point of commanding a record date you were already at least somewhat familiar with them. But this package contains no bio information or any sense of these quality artists’ intent with this program of music. At least in their case you can visit the record company website www.origin-records.com and hopefully learn more, but… the package leaves one hanging, and that’s unfortunate because you need to know these cats.

Tenor, alto, soprano saxophonist & clarinetist Marcus Strickland, with his sidekick twin brother E.J. Strickland on drums, continues to grow exponentially from when I first met them in Aspen, CO during a television shoot for my former BET Jazz program Jazz Ed(ucation). Now, at the ripe young age of 33, comes Marcus’ latest release on his own imprint – Strick Muzik (simple, but effective moniker). In part this release serves as continued evidence of Marcus’ obvious prowess on tenor and soprano, the latter horn garnering New Star recognition in the 2012 DB Critic’s Poll. It’s also a 2-disc affair loaded with examples of Marcus’ upward development as a composer (he contributes all but two of 17 pieces). In terms of packaging what’s most striking is the fact that disc one is reserved for his quartet, with David Bryant on piano, while disc two features his trio, with bassist Ben Williams and E.J. as constants. Besides sufficient personnel and crediting info (though the 3rd inside panel may require a magnifying glass for the tiny font), this is an attractive gatefold package, its two discs differentiated by darker coloration on disc two, or Volume 2 as its billed. Kudos also for the tracks imprinted directly on the discs. Featured airplay tracks from this release include “Lilt”, “Shapes,” “Portrait of Tracy” (from the book of Jaco Pastorius), and “Crispy’s Delight.”

Keyboardist Jesse Fischer hints at his direction with Soul Cycle not only with the band’s name, but also with the alternating grinning/mock serious hipster countenance of his musicians on the cover, where he stands out in sepia tones, the band in black & white, and the subtle placement of Herbie Hancock‘s classic “Headhunters” LP on his keyboard; proving once again that sometimes you can tell by the cover! Jesse’s got an impressive rolodex as well, calling upon such guest contributors as trumpet ace Sean Jones, vocal stylist Gretchen Parlato, and vibist Stefon Harris. Further directions are provided by DJ Ty Adams turntable artistry on “Nuyorican Vibes.” Nothing wrong with having some fun with jazz textures and breakbeat attitudes! Jesse’s going for imprint status with his own Soul Cycle Music label. He also cannily includes personal reflections on each track, such as his declaration that “Natural Light” “…is a slow burner, inspired by “Vein Melter,” Deniece Williams‘ “Free,” Richard Smallwood, and “Africa;” that’s a mouthful and Jesse Fischer delivers. The airplay choice for this corner was “A New Beginning.”

Over the last year or so one of the more impressive new voices in jazz writing has been the Brooklyn-based Angelika Beener. A past contributor to The Independent Ear as part of the series of dialogues with African American music writers, Ain’t But a Few of Us, Angelika has displayed a consistently thoughtful and informative way with words on music, displaying particularly pithy insights into musicians of her generation, folks who’ve come of age during the late 20th/early 21st century. She recently provided a sparkling partner to WBGO radio ace Josh Jackson as co-hosts of the 2012 JJA Awards program at the Blue Note. Angelika graciously consented to contribute Part 3 in our current series of dialogues with women jazz writers.

ANGELIKA BEENER

Angelika Beener is the creator of Alternate Takes, a blog geared toward discussing and exploring jazz within a myriad of cultural and social contexts. She is an award-winning producer and host. Having worked for Blue Note Records, Newark Public Radio- Jazz 88.3 FM, The Hit Factory, ASCAP and consulting for independent artists and non-profit organizations, she has won awards from The New York Association of Black Journalists and The Corporation for Public Broadcasting. The list of jazz artists with whom Ms. Beener has worked is long, distinguished and includes Andrew Hill, Randy Weston, Marcus Strickland, Aaron Parks, Dianne Reeves, Robert Glasper, Charles Tolliver, Kenny Burrell, Ron Carter, Steve Kuhn and more. Angelika is a member of the Jazz Journalists Association, and co-hosted the 2012 Jazz Journalists Association Awards. She is a staff writer for Nextbop.com and her work has also been featured in DownBeat and on NPR Music.

What has been your experience writing about music in general, jazz in particular and how did you get started down this road?

I started writing about jazz full-time about a year ago. However, prior to that, I had been in marketing and public relations in the music industry for about twelve years, and through these experiences I got to do a lot of writing about musicians, and I think that’s how I got “the bug”. I’ve always had a love and a knack for writing and a very deep love for jazz, so the inclination to put the two together was very organic.

My experience writing about jazz has been a really good one. I feel like my voice has been fully embraced, somewhat to my surprise, given the lens through which I write.

What was it about writing about jazz that attracted you to this pursuit initially?

In my career, I was always treated as an anomaly. I didn’t really fit the mold of what a jazz enthusiast “looked” like, and I really didn’t represent what someone working in the field professionally looked like. There was a lot of marginalizing and patronizing from certain White, male counterparts over the years. The music business is very ego driven, and I was a triple threat, so to speak, being young, Black and a woman. I endured a lot, and honestly, was frustrated by the limits put on my voice. So writing not only gave me an outlet, but it allowed me a platform to discuss pertinent issues within jazz that I felt were not being written about enough. I wanted my generation to be represented in journalism; I think that is extremely important. I also wanted my generation to be written about through the lens of someone within that generation, to give some balance and perspective to the journalistic spectrum.

Would you describe your experiences writing about music as overall positive, and if so why or why not?

Absolutely, and honestly, a bit to my surprise. My voice has really been welcomed in the community of journalism as it pertains to jazz. I think I had not really realized how much of a void my my writing would fill for a lot of people who were looking for this type of coverage. And even beyond my own generation, I’ve been embraced, evidenced by things like co-hosting this year’s JJA Awards. For people within the jazz community of a different generation to be interested in my work, and valuing what I bring to the table feels good and tends to make me optimistic about where things are headed in terms of inclusiveness and diversity.

Women occupy an interesting place in the jazz pantheon; on the one hand women instrumentalists are in the distinct minority, at least as far as prominence, and on the other hand women absolutely dominate the ranks of jazz singers. What’s your sense of that imbalance?

I think we’ve come a long way as a society, but have a very long way to go in terms of equality. Generally speaking, vocalists tend to be overlooked as serious musicians and are typically stereotyped as untrained. As a side note, I believe vocalists should train just as hard as instrumentalists to be the best possible artists. However, this will never eliminate the discrimination women will face in this male-dominated art form. And I think a lot of the discrimination happens in journalism; we’ve got to be especially aware of the marginalization that takes place in this industry and be vigilant about expanding the way women are perceived.

Would you describe yourself as a music critic or a music journalist and why?

I’d describe myself as a journalist. I’m not a critic… at least not of the music. My style of journalism is to give readers a window into who these musicians are as people. I’m about discussing what informs the music as much as I’m about discussing the music itself. My style is bridging the gap between culture and what I believe is the end result, which is the music. There has been a disconnect here, which has been detrimental to the Black audience and has misrepresented our contributions, and our genius. To be a critic is fairly easy, but to explore these other areas takes more thoughtfulness, a deeper understanding of the music and an ego which has been put aside; all things a critic should embody, anyway.

Its been suggested that one of the real keys to solving the critical jazz audience development issue is that those who present the music must find more creative ways to attract more women to their audiences; some wisdom suggesting that where more women go, men will surely follow. Is this an apt characterization of the jazz audience conundrum, and if so are there elements you might suggest to those who present jazz as to better attracting women audience members?

I think this is absolutely true. I’m not making any sweeping judgements, but I think the first problem is that often times musicians seem to be playing for other musicians — forget men or women. The music is not as accessible and inclusive as it once was. So we have a male dominated genre playing to a male dominated audience, which is not going to attract a strong female presence. Frankly, the music has gotten so heady, and lacks soul, and I think women are attracted to the depth (soul) of the music, and less interested in how many time signatures and key changes one song can have. In saying this, I am not marginalizing a woman’s capacity to grasp intricate musical concepts. Nor am I saying that intricacy and soul cannot co-exist, as there are too many artists and albums across decades of jazz music which would dispute such a theory. I am saying, however, that the jazz audience is waning in general because of a general self-inflicted (if unknowing) sense of exclusivity, which comes out in the music. I think once this is rectified from a creative standpoint, we can then address how to market to women, or any demographic.

Clearly writing about music, and particularly writing about jazz, could well be characterized as “a man’s world.” Do you feel like that’s due more to the nature of the music or to some form(s) of overt exclusion from the “boy’s club”?

This is a great question. I would have say it’s a combination of the two, stemming from overt exclusion. Having experienced this myself, I know what it is like to be in this position. I believe there is an intellectual element to the music that most men believe is over most women’s heads. The fact that I have perfect pitch, can sing solos, or can spell out chord changes continues to baffle most men. Liking the music and understanding the structure of the music are two different things, and it is in the understanding that the male ego is threatened because women are still not treated as equals mentally. We are still economically discriminated against, paid less for doing the same jobs, and society as a whole has yet to value our minds as much as our behinds. Ridiculously, I think we’re not expected to understand.

How do your women friends and colleagues view you as a jazz writer?

They are hugely supportive. Even my female friends who are not jazz enthusiasts or aficionados are devoted followers of the work. They find the stories interesting regardless of familiarity with the artists. I also have to say that I have a very strong readership of Black women.

Have you ever found it more difficult to pursue writing about music due to gender issues? If so please detail some of your writing challenges that may have been fairly or unfairly colored by gender.

I have not. I think when you know what you’re doing and boldly (not egotistically, but boldly) make your presence known, you’re on the right path. It’s an issue of confidence. A horrible critic can convince readers of his theories if he’s confident enough. Confidence matched with actual skillful and thoughtful journalism can’t be denied, either. Confidence is a big component. I’ve just always known that I have thoughts and theories that are just as interesting and warranted as any man’s. I refuse to be colored by gender. The discrimination exists, but it hasn’t deterred or derailed me. If anything, it has strengthened my platform.

What can be done to encourage more women to write about music in particular, jazz in general?

Largely, I think it has to come from us, as women. We have to be each other’s biggest supporters. I remember a well known critic posing a question about the lack of women writing critically about jazz. It was another writer — a Black woman — who made it a point to note me as one of them. We have to be our own and each other’s strongest advocates. We have to nurture each other’s talent and pull each other up along the way. I think has always been the most effective way to progress.

What have been some of the most personally satisfying music performances you’ve either written about or simply experienced over the last year?

I tend to write more about the music of my generation. I think this is an exciting time for jazz, and we can credit the younger generation for a lot of it. I think musicians are striving to grow away from the pack and find their own voices, regardless of criticism and that’s the way it was when this music was being invented. Artists were fearless back then. I see that same fearlessness in many of today’s artists. There are some true trailblazers in my peer group, and they are courageously being themselves despite judgements or pressures to fit a familiar mold. It’s inspiring to witness and really exciting to write about.

During 2010 and 2011 The Independent Ear fostered a refreshing dialogue with African American jazz writers that we dubbed “Ain’t But a Few of Us.” A few women writers participated in that dialogue and some of their responses were flavored with a sort of double-bind perspective of being not only African American writers but female as well, gender lending a slightly different tint to their sense of pursuit of the music writing craft.

Given the number of women who write about music it seemed another dialogue was in order for The Independent Ear. Apropos our first contributor is a woman who also contributed to “Ain’t But a Few of Us,” Bridget Arnwine. I first met Bridget years ago when the Jazz Journalists Association fostered a one-time mentorship effort for aspiring jazz writers. After the passing of my friend and colleague, the Harlem chief of the jazz prints Clarence Atkins, a Clarence Atkins fund was established that enabled a small coterie of African American writers to attend a journalist conference in California. One member of that crew was Bridget Arnwine, who I had first met when she approached me about writing in Cleveland. She got an opportunity to write program booklet content for the Tri-C JazzFest and has developed her craft from there, with increased opportunities coming her way since her job relocated her to the Washington, DC metro area where Bridget is currently based. Like many a young writer she has been a contributor to All About Jazz. Our conversation began with her current writing affiliations.

Bridget Arnwine

I am currently writing for examiner.com as the Washington, DC Jazz Music Examiner and the National Jazz Artists Examiner. I was recently added as a new contributor for Pure Jazz Magazine.

What has been your experience writing about music in general, jazz in particular and how did you get started down this road?

My experience writing about music has been mostly positive. I really enjoy it and I love the added responsibility of being my own photographer even more.

I started writing about music, because I first wanted to write a book. I wanted to interview jazz musicians about what they loved about the music and what inspired their paths, but I only landed one interview.

I reached out to every jazz musician I found contact info for, but they all turned me down. I eventually contacted Jazz at Lincoln Center to see if I could appeal to the musicians there, but their PR department turned me down too. After a while I was put in touch with someone who suggested that I reach out to Wynton Marsalis‘s right hand woman so that I might plead my case to her. I sent her an email and she responded. She told me in a nutshell that no one would talk to someone they didn’t know, so my task was to become known. She suggested that I join an organization and take on as many writing tasks as possible. That’s what I did. Within a week of that exchange, I found the Jazz Journalists Association (JJA) and allaboutjazz.com. Funny enough, my first assignment for the Jazz Journalists Association newsletter turned out to be a book review. It was for W. Royal Stokes’s book, “Growing Up With Jazz”– a book of interviews. I knew as soon as that book arrived in the mail that I was on the right path.

That was a little more than seven years ago. Thanks to Gen for the invaluable advice and thanks to Wynton for being the only musician to say yes.

As for other genres of music, I’ve written about country, R&B, opera and hip hop for as long as I’ve written about jazz, but I’ve never done anything with those reviews/articles. I started writing about heavy metal, because I saw a help wanted ad seeking contributors for an upstart heavy metal publication and I replied. I did that for a year and I loved it. It’s been almost four years since I’ve written non-jazz related articles, but I recently began receiving requests from metal bands and R&B acts. I’m considering trying it again.

What was it about writing about jazz that attracted you to this pursuit initially?

Initially, I was attracted to jazz because of my introduction to the music. To round out the details of my response to the previous question, my first jazz concert was a Wynton Marsalis performance back in 1995. I lived in Atlanta at the time and I was an intern in the office of then Congresswoman Cynthia McKinney. One of the summer interns tricked me into riding with her down to Augusta for a three-day weekend. Wynton Marsalis was in Augusta for a set of concert dates, and the plan was to register voters at his shows.

I was not a jazz fan at that time. The only reason I agreed to go was because the intern convinced me that taking the initiative to register voters in Augusta would really make a good impression on Congresswoman McKinney. I aspired to work in politics at the time, so I went along with it. Needless to say, I had a real bad attitude leading up to the first night’s show.

Most everything the intern told me about the trip was a lie. We weren’t invited to stay with one of Congresswoman McKinney’s staffers; we weren’t going to register voters at Wynton’s concerts (we were allowed to register voters at a Black Business Expo that happened to be going on the first day of our visit); heck, she hadn’t even secured permission for us to attend Wynton’s show. We were only allowed to go to the show because we arrived at the venue a few hours ahead of show time and the intern sent a “hello, I’m the girl who…” note backstage. To my surprise, one of the septet members happened to be there to receive the note and he remembered meeting her! We were told to meet the group in the lobby of their hotel and we’d walk to the venue together. It was then that I learned that we didn’t have a place to stay, so I ended up booking the last available room at the same hotel.

What changed for me was meeting the guys–Wycliffe Gordon, Eric Reed, Wess Anderson, Victor Goines, Wynton and a tour manager named John. I remember the first night; I was amazed by what I heard. They were fantastic. The intern was supposed to be the jazz fan, but I was the one excited about attending all of the shows that weekend. There’s no way I could walk away from an experience like that without trying to learn more about the music. I eventually became so enamored with the music that I felt I had to do something jazz related… I couldn’t play an instrument; nobody wants to hear me sing; I don’t like being around people enough to want to become a road manager, so I decided to write. Meeting them, and hearing them play, changed the course of my life forever and they don’t even know it.

Long story, I know, but I think of that weekend whenever I think about why I’m here.

Would you describe your experiences writing about music as overall positive, and if so why or why not?

My experiences have definitely been mostly positive. I love the music and I respect those who care enough to create it. Sometimes the demands of my day job present a few challenges to my life as a writer/photographer, but writing about the music and photographing what I see is what makes me feel most human. I’ll be doing this for the rest of my life.

Women occupy an interesting place in the jazz pantheon; on the one hand women instrumentalists are in the distinct minority, at least as far as prominence, and on the other hand women absolutely dominate the ranks of jazz singers. What’s your sense of that imbalance?

My two cents: audiences and the industry are just getting comfortable seeing women do more than sing.

Women in general have been placed in a box and expected to adhere to certain standards. We’re expected to interact with/engage people a certain way; we’re expected to dress and look a certain way; we’re expected to maintain traditional roles in relationships even if we thrive in non-traditional roles professionally; and we’re not supposed to put our interests ahead of anyone else’s. Now women are living by their own definitions of what it means to be a woman. One of those definitions is capable. Not capable for a woman, or capable compared to men, but capable in the fullest sense of the word.

Getting back to the music, Ingrid Jensen and Anat Cohen are constantly referenced as among the best on their instruments- male or female. Tia Fuller performs in 6 inch stilettos and body-conscious outfits and she manages to blow her face off every time she plays. How’s that for womanhood? Helen Sung, Geri Allen and Amina Figarova can conjure some of the most beautiful sounds out of the piano. Regina Carter is as close to flawless as I’ve ever heard. Esperanza Spalding‘s Grammy win has changed the game for female musicians. Cindy Blackman-Santana is my idol. Terri Lyne Carrington and Shirazette Tinnen… Nicole Mitchell… Claire Daily… Bria Skonberg… Tineke Postma… Mimi Jones… they’re all awesome.

The imbalance is slowly disappearing, because these talents won’t be denied.

Would you describe yourself as a music critic or a music journalist and why?

I use music journalist on my business cards, but in hindsight, I think music journalists are far more polished than I am. I’m definitely not a critic either. I would have described myself as a critic when I first started out, but not now. I think jazz writer sums me up. Jazz writer AND photographer.

It’s been suggested that one of the real keys to solving the critical jazz audience development issue is that those who present the music must find more creative ways to attract more women to their audiences; some wisdom suggesting that where more women go, men will surely follow. Is this an apt characterization of the jazz audience conundrum, and if so are there elements you might suggest to those who present jazz as to better attracting women audience members?

That’s an interesting question. I have noticed that I’m usually the only unattached woman at shows. I’ve seen single guys at shows, I’ve seen groups of guys, but rarely have I seen women without a male date. How do you get more men to “follow” if they’re already well represented in the audiences? I do think it’s possible that even more men would show up if more women were present at shows, but the same can be true in reverse– find a way to attract more men and women would show up.

That said, I have noticed that there’s no shortage of women in the audiences for jazz artists with crossover appeal. Roy Hargrove‘s shows are always crawling with women. Same thing is true for Robert Glasper and Esperanza Spalding. Roy Hargrove and Robert Glasper work with hip-hop and neo-soul artists. Esperanza Spalding was thrust into the spotlight. That’s earned them more media attention than many of their colleagues. I’ve not noticed a shortage of women in the audiences for the more popular genres either, so in my opinion it’s not a“where the ladies at?” issue as much as it’s a lack of media coverage issue.

I think if we find a way to get the major, mainstream publications interested in stories about jazz musicians who play jazz music, then audiences could change. I’m working on being a more active contributor, so I hope to do my part to help improve things.

Clearly writing about music, and particularly writing about jazz, could well be characterized as “a man’s world.” Do you feel like that’s due more to the nature of the music or to some form(s) of overt exclusion from the “boy’s club”?

Honestly speaking, you get out of this work what you put into it– man or woman. I haven’t always put a lot into it, because of the demands of my day job and a few other things, but the world seems to open itself up to me when I’m plugged in.

I have had a few “things that make you say, hmmm” moments as a writer that seem to definitely be “boys club” related, but I’ve learned not to care. One example that I’ve shared before, I’ve approached the same magazine on two separate occasions about contributing articles and I’ve been turned down and told that no new writers were being accepted. I was offered an opportunity to contribute free/unpaid work to their website, but I was told in no uncertain terms that I would not be accepted as a contributor to the magazine. That hurt a little, but it’s hard to be offended by “no new writers,” so I accepted it.

I do buy and read the magazines, so imagine my surprise when I saw new names, of guys I know, added to the list of contributing writers. So much for not accepting new writers. The first time I approached the magazine’s staff about contributing articles was at a JJA Jazz Awards event. I’m sure they’d never heard of me, so maybe my approach was a little too… I don’t know… I acknowledge that I can be a bit aggressive at times, so maybe I was too much. The second time I approached them, maybe they had read my work and decided that they didn’t like it. I have absolutely no idea what their reasons were for not accepting me, but I do know that they didn’t tell me the truth.

I didn’t begin writing about this music because of a publication. I’m here, because I love this music. I’ve found a way to create my own opportunities.

How do your women friends and colleagues view you as a jazz writer?

My friends are happy for me. They know what led me to this music, so they know how excited I am to have access to this world.

I don’t know what my colleagues think of me as a jazz writer or photographer. I’ve never had that conversation with anyone. All I can say is that I’m happy for every writer and/or photographer I’ve ever met. They seem to be accomplishing great things, and I’m pressing forward in hopes of accomplishing great things of my own.

Have you ever found it more difficult to pursue writing about music due to gender issues? If so please detail some of your writing challenges that may have been fairly or unfairly colored by gender.

Aside from what I detailed in one of my previous responses, I’d say not really.

The only real difficulty I have had is trying to maintain relationships with publicists and editors.

If an editor changes my work and I question why, it’s not always been received very well. I’m not opposed to having my work changed. In fact, I welcome input from anyone who can help me get better. But why can’t I ask why something’s been changed and why can’t you explain why your change is better? Now, I have to worry about if I’ve offended someone because I’ve asked questions. If a publicist tells me that he/she is going to arrange an interview and I question them about the status while receiving no response, what’s the publicist going to tell the artist about why the interview doesn’t happen? Is it my fault? If I am blamed, do I need to show the artist the unanswered emails I sent out or do I leave it alone? What about publicists from arts organizations who renege on press requests? Should I reply with a “that’s ok, I’ll try again next year,” or Whiskey Tango Foxtrot?! On the flip side, if I’m long overdue on a promise to deliver a review, do they hate me because of it?

These are definitely woman worries. At least they are some of this woman’s worries.

What can be done to encourage more women to write about music in particular, jazz in general?

I do think there are more women writers than we acknowledge. You know me, because of my involvement with JJA and the Clarence Atkins Fellowship, but, after seven plus years in the game, I’m still introducing and reintroducing myself to the same folks. Nobody knows me. Again, some of that is my fault. I could be doing so much more than I am doing; I’m taking steps to make that happen. I can’t imagine I’m the only woman going through this.

I see the JJA monthly members’ updates. There are a good number of women out there doing awesome things but I rarely hear of those things outside of the JJA. When I look at the number of articles women are contributing to major publications, the numbers are unimpressive but at least there’s a presence. I think just like the musicians, women writers and photographers are beginning to put themselves out there more. It’s only a matter of time before we make our presence felt.

What have been some of the most personally satisfying music performances you’ve either written about or simply experienced over the last year?

I’ve been fortunate enough to see and hear lots of great music during my time as a writer, but last year I realized that there were three artists I’d not yet seen that I really wanted to see: Roy Haynes, Sonny Rollins and Wayne Shorter. I can now say that I’ve seen them all!

Aside from those, I’ve attended a few cool festival performances by Esperanza Spalding, Terri Lyne Carrington, Amina Figarova, Winard Harper, Delfeayo Marsalis, Wycliffe Gordon, Ravi Coltrane and Regina Carter. In DC, the Ertegun Jazz Series [presented at the Turkish Embassy] has featured some really awesome performances by Orrin Evans, Helen Sung, Tia Fuller, Jonathan Batiste, Gretchen Parlato, Warren Wolf, Roy Hargrove and Marcus Strickland. And I can’t forget about that James Farm performance at the University of Maryland. They’re fun.

I have plans to increase my festival attendance next year, and I hope to spend more time traveling to NYC for some of those awesome Jazz at Lincoln Center concerts. Jason Moran just became the Artistic Advisor for Jazz at the Kennedy Center, so I’m beyond excited about 2013. I’m going to be all over the place. I can hardly wait!

Ain’t But a Few of Us
Black music writers tell their story: STEVE MONROE

DC-based jazz writer Steve Monroe recently pondered the plight of African American jazz writers based on his own experience in this latest installment in our ongoing series of Ain’t but a Few of Us dialogues…

What motivated you to write about serious music in the first place?

I was working for the sports desk of a daily newspaper and wanted to go to features, to cover music, theater, the arts, do profiles of interesting people, especially those in the black community of Rochester, N.Y., where I was. While working features, I started covering all kinds of music and since I was a jazz fan, became especially interested in the jazz performers who came through town and reviewed and interviewed the ones I could, like Dizzy Gillespie, Billy Taylor, Ron Carter, Bill Evans, Grant Green, many others. The first review and profile I did was of Phil Woods and I was fascinated of the stories he told of Charlie Parker and how he was so influenced by him in the music. That started my jazz reviewing and writing career, was in the mid 70s. Up to then was just a fan, but became interested in reviewing and profiling the greats of the music, the trends, because it was so original American music and had so many genres within its own genre to cover, from soul jazz to avant garde, from the vocalists to the whole swing, big band thing, etc.

When you first started writing about the music were you aware of the dearth of African Americans writing about serious music?

No, but since in the 70s there were only a few even writing professionally about general news to some extent, and features,, sports and business in most media, I did not think much of it then

Why do you suppose that’s still such a glaring disparity – where you have a significant number of black musicians making serious music but so few black media commentators on this music?

Because such a minority of our group are writers, and those of us who are writers maybe have had to be drawn to more prosperous, money making type of writing or communications careers. Jazz/black American music itself has become such a niche art form, within that niche only a few have the time to devote to something that doesn’t make enough money on its own to support anybody, not even most of the musicians, I think that has to be a factor.

Jazz I think like many parts of black America, if not all of it, has become something of an archaeological dig for those types who have the time and intellectual leaning to pursue that type of thing and most of those people with that luxury are not black Americans. Not many blacks have the time or inclination….those who have the time and money to devote to it, I think just do not value it as an art form or cultural beacon like we do….they are into their doctor, lawyer, engineer thing above all and just enjoy jazz as recreation, if they do like it at all.

Do you think that disparity or dearth of African American jazz writers contributes to how the music is covered in the media?

Yes, it has become a fringe, niche art form where, if even the African American populace in general doesn’t support the music, why should mass media outlets devote “X” amount of time and space for something only a few white liberals seem crazy about—I think that is a factor for one thing. If there were more black writers beating the drums in all forms of media for our music it would be covered more, and more as a serious art form…to a certain extent…at least it would be covered more by black media itself, which doesn’t seem to cover it even as much as majority media. I have had to fight to get review space, profile space for jazz in black media outlets I have been a part of…and that’s when I was doing it for free!! So if we can’t get it covered prominently by our own, what chance is there for it in the larger media world?

Since you’ve been writing about serious music, have you ever found yourself questioning why some musicians may be elevated over others, and is it your sense that has anything to do with the lack of cultural diversity among writers covering the music?

Yes, have wondered that, and yes, it probably has something to do with that. It would be natural to promote your own. This is not a color neutral or post racial world yet. Maybe people push certain non African American musicians more in order to promote the whole genre of jazz, claiming they have to do that so the masses will pay attention and support it. I give that a grain of possibility.

What’s your sense of the indifference of so many African American-oriented publications towards serious music?

Mind boggling to a certain extent. It may have to do with the fact that so many whites, and others, Europeans, Asians, others around the world think jazz is so great, that some feel it doesn’t need the backing of its own media. Crazy but have no other explanation for it. It seems our media thinks it is more entertainment than culture, than art, and is just appealing to a niche of whites and blacks and others rather than the masses and therefore if the masses don’t get it, black media can’t spend time on it, because black media has to get paid by advertisers who want/demand to be in front of the masses and if the masses want Kayne and Fat Trel, that’s what black media will give them.

How would you react to the contention that the way and tone of how serious music is covered has anything to do with who is writing about it?

Would agree…may go without saying.

In your experience writing about serious music what have been some of your more rewarding encounters?

My first professional music and jazz assignment was to write about Phil Woods. The way he was courteous, patient with me though my knowledge of the music at that time was limited and certainly much more of a fan based thing than as a reviewer or analyst, made me appreciate the art form he and his peers were pursuing as I think about it now. That was not the case in the other things I had covered, general news, sports for example, where veterans of the business like him were often short, discourteous, very unhelpful to a young reporter/writer.

Covering Sarah Vaughn singing with the Rochester Philharmonic was another special event – I didn’t get to interview her, she was at the top then and didn’t give many interviews at all as I understood. But what was special was the interaction between her jazz motif and the classical, for me, since I had not heard much classical music live at that time and it again made this music, jazz/black American music, special, because it seemed to span and engulf so many other art forms and influence other art forms. It was an education on so many levels.
Interviews with Grant Green, Earl “Fatha” Hines, Keith Jarrett (though he was not the easiest person to interview) were so educational early on, they are still special. Violinist Joe Venuti, again, because I was so young in terms of covering music, I was impressed how patient he was in talking about his music and his life. Knowing and covering Buck Hill all these years, and Nasar Abadey, the veteran folks around D.C. has been an ongoing treat. Sonny Rollins, sort of my all time favorite, at least living (Wes Montgomery probably all time all time), concerts at Blues Alley and Wolf Trap have to rank as well as outstanding encounters/events.

Have to add seeing Charlie Mingus and Sun Ra opened my ears to more than just bebop type jazz, and long live D.C. Space, where I heard Don Cherry and got even more into the freer genres of the music back then.

What obstacles have you encountered – besides difficult editors and indifferent publications - in your efforts at covering serious music?

Venues that see you as a fan who just wants to get in free, and not as a journalist covering a legitimate news story, that has bugged me in the past, that some venue owners see the music, the people who make it as not real stories worth telling or letting journalists cover; they are just entertainers, and everyone must pay, and they don’t see value of the publicity, marketing of what I and others do. These days I may just go ahead and pay just not worry about it, unfortunately, tired of fighting the good fight.

What have been the most intriguing new records you’ve heard so far this year?

–Antonio Parker’s “Live at HR-57”
–Ran Blake, Christine Correa, “down here below”
–Robert Glasper “Black Radio”
–Billy Hart “All Our Reasons”