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Women in Jazz, Pt. 2: The Girls From Piney Woods

Karl Ackermann By

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The musicians wanted permission to go backstage and see what boy’s band was back there playing, see how this thing was done. ‘It was pantomime, they got to have a band back there,’ they said. ‘Ain't no girls can play like that.’ —Eddie Durham
In Part 1 of Women in Jazz we looked at the historical position of women in early jazz. Despite their influence in shaping the art, their talent as composers, arrangers, instrumentalists, and band leaders, women have often been token additions; marginalized window dressing in a male-dominated world.

One hundred years after Lil Hardin Armstrong held the ladder for Louis Armstrong, saxophonist Tia Fuller provides a window into how little things have changed for women in jazz. The composer and professor at Berklee College of Music has been a member of Beyoncé Knowles all-female touring band and has recorded with Esperanza Spalding, Dianne Reeves, and Geri Allen. She has released five jazz albums as a leader; the most recent Diamond Cut (Mack Avenue Records, 2018) features Dave Holland, guitarist Adam Rogers, drummers Bill Stewart, Jack DeJohnette, and Terri Lyne Carrington who also produced the album. Diamond Cut was nominated for the 2019 Best Jazz Instrumental Album Grammy in a category that included Fred Hersch, Brad Mehldau, Joshua Redman, and Wayne Shorter.

On the day of the awards Fuller wrote an opinion piece 2019 Grammy Awards: Why I'm Using My Nomination to Speak Out About Sexism in the World of Jazz, for NBC (www.nbc.com, February 10, 2019). Fuller emphasizes the obvious slights while putting a face on the discrimination and sexism she has personally experienced. The examples are nuanced but they are actions reserved for the "other," the outsider. She talks of suggestions she should "smile more" when performing. It's unlikely anyone would have said that to Miles Davis. Fuller writes about comments made when she's spotted carrying her saxophone case such as "Do you really play that?" Ultimately, Fuller believes that that the #MeToo and #TimesUp movements have had a positive halo effect on women in jazz and elsewhere but she knows progress is painfully slow when she writes "Young girls can fly a rocket ship, throw a football and solo on the saxophone—but it is always harder to be what you cannot see."

International Sweethearts of Rhythm

The Swing Era that dominated the mid-1930s to the mid-1940s represented the only time in the history of jazz when the genre and "popular music" were synonymous. But, like all the stylistic periods of jazz, it was relatively short-lived. The music piggy-backed on the earlier dance band music of the 1920s and early 1930s and evolved to reflect the energetic rhythms and blues influences made popular by black territory bands. Like dance bands, swing was heavily reliant on dancehall venues but thanks to the growth and affordability of radio, swing survived the Great Depression and thrived into the post-World War II years.

The rural, south-central Mississippi community of Piney Woods was established on land that had been the Choctaw Nation before their people's forced removal to Oklahoma. Known as an underdeveloped and lawless area, the Piney Woods were sparingly used by sheep and cattle herders but was not well-suited to agriculture. Representatives from Piney Woods voted to secede from the Confederacy in 1861 and launched guerilla-style attacks on the Southern troops. In retribution, the Confederate Army raided subsistence farmers and confiscated livestock, depleting the few resources in the community. The poor region in the poorest state in the U.S. became more impoverished as farmland opened to the north in Mississippi and the small population dwindled further. In 1938, near the end of the depression, the Piney Woods Country Life School opened. Despite the institution's idyllic name, it was an orphanage and school for poor black and white children. The Piney Woods School was an unlikely starting point for the most famous "all-girl" jazz band in jazz history.

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Diamond Cut

Mack Avenue Records
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