Jazz is a unique style of music that took development in America during the early 20th century. It made a widespread popularity particularly in the urban areas such as New Orleans, and it served as a social-leveler and unifier. Melding both black and white citizens, Jazz became the basis for social dance music and the provided the early opportunities for public integration (“Jazz”, Encyclopedia.com). The music also helped stir up the national mood particularly during the Depression and the Second World War. The most remarkable period of the development of jazz is during the 1940s and 50s. During those times, social issues such as discrimination also affected the development of the music. For some instances, women had some struggles in regards to involvement and achievement in the music industry. Nevertheless, history attests to the great contributions of women, as well as their proficiency in jazz.
The emergence of great female singers had a large part in the evolution of jazz music. Most of these women were “multi-talented vocalists capable of blending various elements of pop, blues, and spirituals into their repertoires” (Dicaire 69). One of them is Ethel Waters. She was born in 1896, and, like many of her contemporaries, her musical expertise all began through the church and gospel music. She sang in the church choir and there developed her lifelong love for singing (69). She grew up in a poor family and didn’t have enough formal schooling. As an African-American teenager, Waters worked as a domestic helper, which was the common work for unprivileged individuals. Her skills in singing and music became her means to get her out of such hard labor. She managed to have work at the Lincoln Theatre in Baltimore, and had her name started spreading in the cities. Touring in the South on her own, Waters produced her first recordings: “The New York Glide” and “At the New Jump Steady Ball” in 1919, and the bestselling songs “Down Home Blues” and “Oh, Daddy” in 1921 (69). She made a reputation as a great performer when she happened to work with Fletcher Henderson – one of the most popular arrangers and band leaders in the history of jazz music. In the late 1930s, Waters appeared in some dramatic roles, which increased her reputation both as an actress and singer.
Another woman to have gained reputation in the history of jazz is Billie Holiday. Her early life was unpleasant; her father abandoned her and her mother left her to their unkind relatives. According to her own story, she was a victim of prostitution – which, even today, is a manifestation of a wrong social view of women. After 1930, she began singing in Harlem clubs, such as Pods’ and Jerry’s, known to jazz enthusiasts in Brooklyn (“Billie Holiday”, Pbs.org). In 1993, she was discovered by John Hammond, a producer and talent scout, who arranged for her three sessions with Benny Goodman. Goodman was also renowned to have a good band of saxophones, trumpets, trombones, and rhythm instruments. Also, Hammond found engagements for Holiday in New York clubs, where she began to work with Teddy Wilson and many of the finest jazz musicians at that time (“Billie Holiday”, Pbs.org). Her recordings gained the interest of musicians throughout America and jazz singers began emulating her light manner of music.
Another “big name” in the world of jazz is Mary Lou Williams, who was regarded as an influential musician, composer, and arranger. She grew up in Pittsburgh and played music at a young age. In 1925, she joined a band of her husband John Williams. In 1929, Williams served as a deputy pianist and arranger in Terrence Holder’s band until April 1930 (“May Rou Williams”, Pbs.org). The popularity of the band during the 1930s increased because of her peculiar arrangements and compositions, as well as her solo performances in piano. She also worked with renowned musicians such as Tommy Dorsey, Earl Hines, and Benny Goodman.
There are more female performers that were left out in the history of jazz. Lilian Hardin, who became the wife of Louis Armstrong, worked with Louis as a pianist before he went to his own band. Ella Fitzgerald, who had the vocal range of three octaves, made distinctive improvisations by making the voice sound more like a jazz instrument and as essential part of the jazz repertoire (“Jazz”, Encyclopedia.com). Others include Dolly Douroux who played piano, bass, drums, trumpet, and guitar, and worked with bands led by Peter Bocage, Alphone Picou, Lorenzo Tio. Jr., and Luis Papa Tio (Crossfield, “How Well-Behaved and Rebel Women made Jazz History”). Another is Yvonne Fasnacht who played alto saxophone and clarinet, which were considered as men’s instruments. She worked with all-women bands and even formed her own “gender integrated” band named Dixieland (“How Well-Behaved”). Another is Nelishka Baby Briscoe who performed with Joe Tobichaux’s Rhythm Boys and the Harlem Playgirls, an African American all-women band (“How Well-Behaved”).
However, these women also faced certain challenges in being officially involved in the music industry. Certain political and social ideologies affected various social systems including music. For instance, moral principles likened the musical performance of women to prostitution. The local term “jazz” originally referred to sexual activity (Boyer 404). Especially when the artist is attractive, male audiences seem to consider these women as a means for their satisfaction. Women artists are challenged with the awareness of this wrong perception of the public. In fact, some posters of jazz music recordings evoke sexual arousal by depicting an attractive young naked woman, and a nurse with her partially covered left breast – as seen in one of Curtis Counce’s releases (Gioia 196). Even today, this is a manifestation of the sexist view of women in society.
Also, many women are absent in the standard accounts of jazz history since, despite their musical talents and skills, their participation was limited by socio-political conditions, as well as educational deficiencies. Some viewed that women are supposed to be confined in domestic work and should not be involved in the music industry. For instance, Dolly Douroux was skillful in bass, drums, trumpet, guitar, and piano. In 1922, she married Placide Adams, who did not allow her to continue her involvement in jazz. Nevertheless, Dolly Adams raised a musical family of seven children who can pay multiple instruments (Tucker, “Rocking the Cradle of Jazz”). Due to financial hardship, Placide finally allowed her to resume her career.
Many women faced obstacles that prevented them from playing certain instruments due to social norms and lack of formal education. Mary Lou Williams is one example who “was not educated and could not read sheet music” (Crossfield, “How Well-Behaved”). Nevertheless, she learned to play piano by simply listening to great local hits of James Johnson, Earl Hines, and more. Faced with these challenges, these women also endeavored to acquire more skills in jazz instruments – including those associated with men. In late 1920s, Yvonne Fasnacht started learning clarinet and alto saxophone at the Nichols School in New Orleans. Three other instrumentalists known for playing banjo, piano, and sax also came from this school. These three were the Boswell Sisters, who became the famous trios in the 1930s (Tucker, “Rocking the Cradle”). For some, proving their worth was gained by joining male bands or by establishing their own all-women band. Further, these women confronted discriminative influences by considering themselves not as women but as jazz musicians.
Works Cited
“Billie Holiday”. Pbs.org. Oxford University Press, n.d. Web. 28 Feb. 2014. <http://www.pbs.org/jazz/biography/artist_id_holiday_billie.htm>
Boyer, Paul. The Oxford Companion to United States History. New York, NY: Oxford University Press, 2001. Print.
Crossfield, Leita. “How Well-Behaved and Rebel Women made Jazz History.” WordPress, 8 Oct. 2012. Web. 28 Feb. 2014. <http://creativitycatalyst.wordpress.com/2012/10/08/how- well-behaved-and-rebel-women-made-jazz-history/>
Dicaire, David. Jazz Musicians of the Early Years, to 1945. North Carolina: McFarland & Company, 2003. Print.
Gioia, Ted. West Coast Jazz: Modern Jazz in California. Los Angeles, CA: University of California Press, 1998. Print.
“Jazz.” International Encyclopedia of the Social Sciences. The Encylopedia.com, 2008. Web. 28 Feb. 2014. <http://www.encyclopedia.com/topic/Jazz.aspx>
“Marry Williams”. Pbs.org. Oxford University Press, n.d. Web. 28 Feb. 2014. <http://www.pbs.org/jazz/biography/artist_id_williams_mary_lou.htm>
Tucker, Sherrie. “Rocking the Cradle of Jazz.” Ms.Magazine. Liberty Media for Women, 2004. Web. 28 Feb. 2014. < http://www.msmagazine.com/winter2004/jazz.asp>
