letterif o f t h e INTERNATIONAL WOMEN?S BRASS CONFERENCE

Volume 2, N umbe r l

Dear Members :

In this sixth issue o f the W B C

Newslet ter you w i l l f i nd yet anotherwonder fu l article by Sher r ie Tucke r ,author of the piece on Barbara But lerwh i ch appeared in our last Newslet ter .This t ime Ms. Tucke r has interviewedone o f our p ioneer ing jazz trumpet hero-

ines, Jane Sager. You w i l l also f ind a

new Behavior Survey concerning yourpersonal experiences wi th colleagues. Ihope you wi l l take the time to respond tothis very important questionnaire.

I t is with great regrét that I musti n f o rm you o f the recent passing awayo f the jazz trumpet pioneer, T i n y Dav is .C l o r a B r y a n t has k ind ly submitted a

February, 1995

poetic eu logy f o r Ms . Davis.Suggest ions, commen t s and

crit icisms are a lways welcome. Pleasesend any letters to the edi tor to 1137Richmond St., Pittsburgh, PA 152!8-1014.

Rebecca Bower, Editor

Letter f rom the President

Dear Friends:Ithas been quite a long time since

I have communicated with you. Com-pared to all of the activity at our firstbrass conference, there has been verylittle to report. The Board of Directorshas met to start planning for the nextbrass conference. The board voted tohave the next conference in four years,so mark your calendars now ? AU-GUST 1997. Thatis over two years fromnow ? but NOW is the time to startraising the money for the next confer-ence, as well as trying to implementsome of the other goals outlined in ourten year long range plan.

Newsletter:Thanks t o the cont inued contr ibu-

tions o f many o f you, w e have been ableto cont inue sending our newsletter t oeveryone on ou r mai l ing list, whetherthey are members or not. I want to giveave ry special thanks to Rebecca Bower,Edi tor , f o r donat ing hundreds o f hourst o IWBC in prepar ing and organiz ingthe newsletter since its beginning!

Scholarships:For the last two years in St. Louis,

Thave organized a fund-ra is ing concertf o r the IWBC Scholarship Fund, calledthe "Hol iday Brass Concert" . Presentlyw e have raised $10,000 in scholarshipmoney f rom our 1993 and 1994 Hol idayBrass Concerts. Th is is a good starttoward our goal o f $25,000 for scholar-ships by Augus t 1997.

Recordings:Another project in our long range

plan is to produce a CD wh i ch wou ld beavailable at our next conference. As youperhaps know, producing a C D o f a

brass ensemble wou ld cost a great deal,approx imate ly $15,000. W e feel, andhope you agree, that it is important toleave an oral as wel l as a wri t ten legacy.

So l i t t le history is available f romou r past ? we have no contro l over that.However , we can contro l our future.U l t imate ly , we wou ld l i ke to produce atleast two CD's, one featur ing outstand-ing women soloists, and one CD o f alarge brass ensemble.

The Conference is our pr imarygoal. August 1997 w i l l be here beforewe know i t ! I can hard ly wai t ! . I havereceived, and am st i l l receiving, lettersf rom people who attended the 1.993 con-ference, who wanted to share wha t theconference did for the i r confidence,morale, self- image, performance skills,etc, . . Let's do i t again! ! ! The cost o f thelast conference was over $50,000. Wehad lots o f help f rom indiv idual donors,corporate sponsors, the Ker r and Gen-eral Amer ican foundat ions, WashingtonUnivers i ty , etc.. Due to r is ing costs, wew i l l probably need more l ike $60,000 forthe 1997 conference. Sorry I cannot tellyou where the conference w i l l be heldyet, but I do know we w i l l have one, andneed to begin to raise the money now.So, i f you can help us at all w i th a

contr ibut ion, smal l o r large, please do sotoday.

Thanks, and Hook forward to hear-ing from you soon, and seeing you in1997,

Susan Slaughter, President

As disappointed as I was whenpoor health prevented jazz trumpet pio-

neer Jane Sagerf r o m a t t e n d i n gt h e WBCof 1993, was I ever in for a thri l l whenanother jazz trumpet pioneer, CloraBryant (whose dynamic attendance atthe IWBC will be remembered by allwho were there), treated me to an after-noon at Sager?s trumpet studio in Holly-wood in June, 1994. Sager is a well-known teacher among jazz and studioplayers in the Los Angeles area (HerbAlpert is just one of her famous alumni).This writer was in jazz trumpet pioneerValhalla!

When we pul led upto her studio on a majo r Ho l -l ywood intersection, the en-erget ice igh ty -year -o ld t rum-pet guru was already stand-i n g outside, w a v i n ghe r arms.Tt was j us t great to see Sagerstanding there look ing sowel l . For Bryant, Sager is acher ished f r i end w h o cancheer her up. For me, Sager,l ike Bryant , is a legend.

Jane Sager is thetrumpet to t ing teenager f rom Green Bay,Wiscons in , who had played so manybal l rooms by the t ime she was f i f teenthat she was able to buy hersel f a Fordconvert ib le in the m idd le o f the Depres-sion. She is the col lege student whosupported her classical v i o l i n educat ionby p lay ing jazz trumpet at n ight unt i l shegot wise and said, ? I ' ve got someth ingdi f ferent w i th th is hom !? She is thecountry k i d who came to Chicago tostudy w i t h legendary Edward L l ewe l l y no f the Chicago Symphony , and who,dur ing the same time, was sit t ing in w i t hequal ly legendary Roy ?L i t t le Jazz?Eldr idge at the Three Deuces. She madeit f rom vaudev i l le to the studios, playedin both women?s and men 's jazz andswing bands, was once inv i ted to go on

JANE SAGERby Sherrie Tucker

the road with Duke Ellington. She wasa key organizer of Ada Leonard?s fa-mous orchestra. In fact, in a phoneinterviewwiththe glamorous bandleader,Leonard said, point-blank, ?I couldn?thave done it without Janie.?

Sager led us into her studio,where she immediate ly began pu l l i ngout photographs and newspaper c l ip-pings. As soon as Bryant and I weregreeted and seated on either side o f her,she regaled us w i t h an amazing tale o fher first j ob r ight out o f school. Th isstory, as hi lar ious as it is, can also beseen asa gendered history o f vaudevi l le,

?He Cohnny Rivers) followedme around waiting for me to

menstruate to see if I?d fall over!Yeah, yeah, this is the truth!?

adding sobering insights into our know l -edge o f what k inds o f experiences m igh tbe in store for a woman who went on theroad wi th her t rumpet in 1935.

?T was kind o f a dumb Wiscon-sin farmer, for God?s sake,? she beginsin her animated and in imi tab le way. ?Imean I?m in Chicago, I ' m look ing at theelevateds, and the whole th ing is goingl ike that in my mind. So, R e n ? ? (herfr iend, Reynold Schi lke, who was re-sponsible f o r getting her the opportuni tyto study w i t h L lewe l l yn ) ? ? ca l l e d meup and says there?s a wonderful cometplayer named A l M i l l e r . He had onearm. He cut his armo f f asak id . And helaid in bed and all the relatives are s i t t ingthere and they said, ?What are we go ingto do wi th poor A l now he?s lost hisarm?? And Alsa id , ?Ilaid in thatbed and

Isa id , damn, nobody?s going to do any-thing.? And he took his cornet and heplayed it w i th one hand and he becamefamous, you know, a vaudevi l l ian.?

As she describes it, as soon asshe arrived at the Mil ler house for herbig first rehearsal, Sager was taken asideby each member o f the Mi l ler family foradrink. Gin, vermouth, whiskey... ?Soby the timeI si tdown?it?s a good thingI had an ear because I couldn't see themusic! And I do know that the first tunewas called ?The Continental." Remem-ber the old days of Astaire and GingerRogers??

Bryant remembers italr ight, and so do I af ter shesings a f ew bars.

Sager nods and cont in-ues, ?Weill. thank God, o fcourse I knew that song.Looking o u t the comer o f mye y e ? ? (she squints, recreat-ing the scene) ? ? " k e y o f Bb.And we started: dah ba-da

d a h , da-dah... y o uknow, andI ' m going fine, and the old

lady says, ?Godda rn i t , blurpp.? Burpedl ike this. She said, ?Goddamnmit, I l ikethe brass!? And I?ms i t t i n gt h e r e dying.Meanwhi le , you can?t b l ow a horn andlaugh. And I?m ready to die laughing.So that?s my introduct ion. I made therehearsal. So we go to our f i rs t job. Thisis my first th ing, real ly, you know.mean, thir ty dol lars f o r three days, thatwas big money.

?So they p ick meu p . I?m si t t ingunder some k ind o f a bridge port w i thmy trumpet and my stu f f and the carcomes on and p icks me up andI g e t in thecar and the g i r l si t t ing next to me says,?Look out. You ' r e sit t ing next to A l andyou?re a new gir l . Have you got a t inbrassiere on?? Wel l , that meant, he?sgonna. . .? Her voice trails, know ing l y .?And he?s got one arm! And that arm

2

a

r r r r re

could drive a car and go...? She makesgrabbing mot ions w i t h her hand. ?Ifended h im o f f f o r mi les . . .?

?How'd he do that?? asksBryant, a reasonable question.

?Wel l , you know , he?d shiftgears.? T o il lustrate, Sager pantomimesshi f t ing gears andmaking passes atthe sametime w i t hthe samea rm . De-spite the fact that

s e x u a l harassmentis n o l a u g h i n gmatter, this scene,as acted out bySager, is down-r i g h t c om i c a lf i f t y - n i n e years af-ter the f a c t .?That?s what he?ddo. You know, allovertheplace, l i kehe?s sw imming .

?So any-way, to make along story short,we get into La-crosse, Wiscon-sin... and I didn?tknow that we?dplay out in theopen for a fair.You're supposedto have those

?The story continues, w i th M i l l e rcommanding her to ?Fol low my valves?as the band launches into a Barnum andBa i ley barnstormer for which they haveno sheet music, takes us through a lunchbreak in the bus where Mi l ler?s wi feprepares meat loa f sandwiches made

reach it. You play it and people won?tknow the difference.? So one show,something, Idon?t know, something wasbiting me, so I reached down like thisand by the time I get up it?s too late andshe?s going like this? (she opens hermouth wide) ?and no note, I didn?t get

my hom.??No, no,

no...? cries Bryant.?TY thought I

was going to getf i red. So then I hitt h e thing late. Theyd i d n ' t f i re me, Idon?t know how.F ina l l y , the f inaleo f the show, shewas to goaround inab igc i r c le wi th t h e

Ame r i c a nf lags f l y -ing. Oh, the comf rom Jowa and ev-erywhereelse. Andt h i s is g o i n go n , andshe?s drunk , andshe kicks her shoeso f f r ight on stage.The show?s goingon. Peop le ared umb , wa t c h i n gthe show. Shekicksher shoes o f f andshe?s going aroundin the c i rc le wi th

clothespinstohold the trombone,your damn music. round and round.And I?m doing Allof a sudden thethis, you know...?, slide goes out, way(another panto- C l o r a B r y a n t (1) a n d J a n e S a g e r ( r ) o u t i n theaudience,mime?here she Tm telling you, Iacts out grabbing nearly died.?her mus ic in the a i r wh i l e she?s p lay ingi t) , ?...and all o f a sudden, a bunch o fp i g s ? Im e a n pigs! S ow s ! ? c ome acrossthe stage. It?s the coun ty fa i r . A p ig act!That 's my f i rst act I had t o play. For abunch o f p igs !? B r yan t and I how l wi thlaughter. ?Now this is the truth. Icouldn?t make this up. N o human beingcould make up this!?

f r om Red Hear t dog food, and cu lmi -hates in a part o f the act where the start rombon is t o f this al l - female (except forleader A l M i l l e r ) band has to sing anumber out o f her range. ?She'd getdrunk, they were all drunk,? said Sager,?and she says, ?Now whenI get to thisnote, it?s ah igh C f o r you, f o r God sakeshi t it, because wi th my voice I can?t

?Did you lay onthe floor?? laughsBryant. Sager?s story and performancehas us practically on the f loor f rom laugh-ter, ourselves,

?I did everything. I?ll never forget.One-ArmedM i l l e r and theM i l l e r Show. Ina l l o f mydays,n ooneevergot i n t oanything,liket h a t any worse, Pm sure.?

Sager loves to te l l a story, and

. 3

she?s got a mil l ion o f them, most frommore professional outfits than the Mi l lerShow. She played with many of the topwhite all-femalebands of the thirties andforties, including those led by Rita Rio,Ada Leonard and Ina Ray Hutton, aswell as the International Sweethearts o fRhythm, an African American all-fe-male band which also hired some whitemembers as did several other Black all-woman bands of the day. ?Best two weekso fmyl i fe,? saysSagerabout workingwi ththe Sweethearts at the Alabam in LosAngeles. She also worked fora number ofmalebandleaders,including CharlieB ame tand Johnny Rivers.

Recently, Sager?s li fe has beenhit w i th tremendous loss, the passing o f

ahead. When you get on there, you?regonna show ?em.? That?s the kind o fperson she was. She?d give me suchinspiration. So, about a quarter o f one,they put me on, after all these men, youknow, I go up there. And I was mad. Igot Ir ish mad. Flaming. And I went upthere and the f i rst th ing he threw at mewas a lead trumpet part that started on a

high C#. Ba-da-ba-da-BEEEE! Youknow, that k indo f s t u f f . I jus t cut it l ikemustard, you know. Justnoth ing . Then,at the end, he said, ?Let's pick the oldchestnut that shows what everybody cando, ?Body and Sout.? I said, ?Great.? SoPete Rugulo, incidental ly, was our pianoplayer. We had men like that in ourband. And Ma r y counted eight choruses

?{ don?t give a damn, [ just p l a y . . .{ si t back and { put my feet up on thetable and i t saved my life.?

her dear f r iend Ma r y Sawyer, a dancershe had known since her USO (Uni tedServices O r g a n i z a t i o n )days in the 1940sand who had helped organize the t rum-pet studio. Sager?s story o f aud i t ion ingf o r Johnny Rivers? band il lustrates whatwomen brass players were up againstwhen they dared to t r y out f o r malebands, as we l l as showing how impor -tant Sawyer?s support was to her in hercareer.

?Wel l , I never dreamed that Iwas going to get achance to audi t ion f o rthe trumpet chair,? says Sager, af ter ex-plain ing that Rivers? band was the mostexci t ing th ing she had heard after mov -ing to L .A . in the 1940s. ?But they mademe wai t .? Her voice drops, ?My fr iend[Sawyer] stood there and she got a shotf o rme and said, ?Now you d r i nk th is andyou sit here all n ight and let thosemen go

he made me stand there t ry ing to wearme down. And at the end, he looked athis watch. He says, ?We?ve got to quit.?And I went up and I made l ike a cadenzaend run th ing and went up and hi t an Eb.?He says, ?You've got the job.? Andthat?s the f i rst t ime a woman had ever,you know, really, gone out there andtaken a j ob l ike that. I t was September1942.?

As much as she admired Rivers?musicianship, and enjoyed playing inhis band, the sexism didn?t stop at thatf i rs t audit ion. ?He wou ld fo l l ow mearound, you know. And he kept wai t ingfor me to get tired. He said, ?Aren?t youtired?? Isaid, ?AmI supposedtobe?? Hesaid, ?Well, | understand that girls men-struate and then they don?tplay sogood!?I said, ?Ahhh.? I say, ?I p lay tw ice as

good when that happens. Where d id you

get that crazy propaganda?? He fol-lowed me aroundwait ing for me to men-struate to seei f I 'df a l l over! Yeah, yeah,thisi s the truth now.? The foolishness o fthis remark was no surprise to Bryant.No doubt there are some other womenbrass players out there who have heardsimilar comments.

Sager tel ls several interest ingstories about her tours on USO wi th AdaLeonard?s orchestra dur ing Wo r l d WarTwo. One that struck me as part icular lypoignant, involves a solo trumpet spotwhere Sager wou ld come to the front o fthe stage and take a request f rom theaudience. One night , a young voicecalled out the name o f the Harry Barr isme lody , ?I Surrender, Dear.? Shecou ldn ' t see the soldier because o f thecarbon spot l ights, bu t the request caughther ear. ?Wel l , you know, that wasn?tcalled out too much among those guys,they always wanted pret ty corny stuff.So I said, ?Sure, I ' l l p lay it.? So ' mplay ing this solo, and I?m feel ing it inmy heart and soul and, oh, just real lyen joy ing doing something I l ike. And Ihear a lot o f commot ion down there.And I couldn?t see, as J say, bu t stuff?sgoing on l ike mad.?

When the show was over, Sagerwen t down to the area where the youngman had been sitting, and where now a

group o f off icers stood. She demandedto know what happened. ?One says,?Can you take it?? I said, ?I don?t knowwhat you mean.? He says, ?Come here.?SoI did and i t was that th ick wi th blood.A l l over the seat, my God. So, to makea long story short, they saved the kid?sl i fe. He had cut his wrists. Tha t was hisfavor i te song and he didn?t wan t to goabul let way. He wanted t o die that way.We l l , they let me go to the in f i rmary thenext morning and I saw h im wi th hisarms bandaged and I hugged h im and 1

said, ?Look, that?s the wrong way to go.?T said, ?You may never get a bullet. Ic ou l d get one be fo re you, wa l k i ngaround, who knows?? He said, ?Oh,{Cont inued on Page 7)

Directory Update - March 1995Karen Ba c c a r o (T r umpe t )2 603 H i l l egassBerkeley, CA 94704510/834-9403 (H)

Margaret Brouwer (Composer)Box 20580, Park West StationNew York, NY 10025-1521212/663-5941 (FAX)Composer

Heather Buchman2616 Polk Ave,San Diego, CA 92104619/692-3545 (home & FAX) (H}Principal Trombone San DiegoSymphony Orchestra

{Trombone}

Deanna J. FordP.O. Box 288Gabriola Island, BC VOR 1X0CANADA604/247-8894 (H)

(T rumpe t )

Betty S. GloverChemin St. EstéveMénerbes 84560FRANCE011 (33) 90/72-37-89 (H}Cincinnat i Symphony/Cincinnat iConservatory o f Music Adj. Professor

(Trombone)

Nancy Goodearl (Horn)4643 Spruce St.Be l l a i r e , TX 774017 1 3 / 6 6 8 - 9 1 4 5 (H)Houston Symphony Orchestra

Delores Haber17161 Sandra Lee St.Hunt. Beach, CA 92649714/846-7444 (H)

Carol L, Jaeger (Trombone)4508 Shenandoah Ave. #1-WSt, Lou is , M O 6 3 1 1 03 1 4 / 7 7 1 - 5 2 4 4 (H}

Compton Heights Band

E l i z abe t h Fa i r l i e Judge (Ho rn )1976 112 th AveOtsego , M I 4 9 0 7 8616/694-9669 (H)

jul ie Landsman {Horn}180 Tweed Blvd.Nyack, NY 10960914/365-6633 (H)212/501/7909 (W)Co-Principal Horn Metropol i tanOpera Orchestra

Amy J. McBeth (Horn)614 Ist St. W. #17

No r t h f i e l d , M N 550575 0 7 / 6 4 5 - 7 1 9 5 (H}5 0 7 / 6 4 5 - 6 3 53 (W)

Instructor-Saint O l a f College

Dawn McLean {Bass Trombone)508 Wilson Cres.Saskatoon, SASK $7) 2M1CANADA306/668-7272 (H)306/931-8092 (W)

Carolyn O'Keefe1825 Pu r due A v e . # 3

Los Ange les , C A 90025310 / 4 4 4 - 9 1 74 (H)

(Trumpet)

Lisa OrmenyseyAAB (M)Albert Road Dr.South Melbourne, VICAUSTRALIA

Laurie O r r (Horn)Music CoordinatorSam Ash Music Stores163 W . 48 t h St.

New York, NY 10036800/867-7755 or 212/719/4974 (W)212/354-6922 (FAX)

Carole Jeanne Paul (Trombone)584 Spadina Ave.Toronto, ONT MSS 2H2C A N A D A416/964-5790 (H}Free LancePerformer/Teacher/Composer

Linda M. Presgrave (Horn)8056 Venetian Dr. Apt. 8St. Louis, MO 63105314/863-1503 (H)Washington University

Veronica Ricks (Horn)618% Bowery St.lowa City, A 52240319/358-8386 (H)

Jean M. Rife (Horn)45 Kilgore Ave,Medford, MA 021556 1 7 / 4 8 3 - 3 3 0 4 (H)Principal Horn-Boston Baroque,Univ. o f N ew Hampshire, M.1T.

Sra. Kim A. Rodriguez {Horn}General Del ivery500B St.Keesler AFB, MS 39534-2264

Susan E. Scarr (Trombone)419 Merrydale Dr.Ma r i e t t a , G A 3 0 0 6 44 0 4 / 4 2 7 - 3 6 5 0 (H)404/429-3180 (W)

Leona May Smith128 Court St. Apt. A-14Plymouth, MA 02360 ©

508/746-7816 (H)

{T rumpe t )

Vicky Smol ik2213 Wh i s p e r i n g W o o d sBe l l e v i l l e , IL_ 6 2 2 2 3 - 7 0 1 46 1 8 / 2 7 7 - 4 6 3 4 (H)

(Trumpet)

Cat Spece5837 20th Ave.Sacramento, CA 95820-3107

Sharon Zurf l ieh {Horn}7180 High Ridge Rd.Lantana, FL 33462

Copies o f the Directory are ava i lab le f o r $5 .00 f r om IWBC.

? ?

See membersh ip f o rm to order.

oTa

$250 ? $999Rebecca BowerBarbara Butter

Jilaine A. RosenthalJon P. & Charlotte E, SlaughterDavid S, Takach

Jan Z Duga Kathleen F. WitmerLaurie A. FrinkRoger Oyster Up to $99Susan Slaughter Sara AlbertMr. & Mrs, Philip Slaughter Martha |. Awkerman

Dy, Patricia BackhausJoan R. BeelerHeather R. BuchmanMary A, BurroughsLydia Lowery BuslerJanell CarterTrudy CavalloGlenda CloutierStephanie Cox *

Mary Ann CraigRobert CurfenderJennifer CurranHelene Dauerty

$100 ? $249Monique BuzzarteGary A. & Shyrley Bynum SmithKatherine E. CanfieldJerry Cerchia, jr.Glenda CloutierAbbie ConantJoyce DavisDonna }. DornBetty S. GloverCarole R. KleinDewi MindenPeter Piacquadio

Denisek DeMoul in James McGrathLinda Dempf Dawn McLeanMary Dunn Jeffrey E, NevilleJoan C. Fann New York Brass Conference forKathleen Vaught Farner ScholarshipsSusan A. Fleet Carole Jeanne PaulLila Gailing Leigh PilzerRamona Galey Larry RagentJudith A, Goedeker Jean M. RifeRoy Griffinsjean Shirley GrossmanMyra Ann Hosack

Susan E. ScarrJames R. & Barbara J. ScheerNancy Schick

Barbara Hull Lauren SchiffFrances Kass Stuart N. SennigerLora E. Katz Alison ShaimanNorma L, Lain Lorry SharpLinda Lou Landis Faye-Ellen SilvermanDiane Lefeaux Mary Jo SparrowCharlotte Leonard Ed StevensGloria A. Luitjens Rachel ThomasAmy J. McBeth

?Ca ro le Dawn Re inha r tAspec ts o f a Caree r?

a b iography by Elena Ost le i tner and Ursu la S imekThis unusua l book about the in te r -

na t i ona l l y renowned t r umpe te r not on lydelves in to he r l i fe, bu t also invest igates i tf r om a sociological v iewpo in t . Especia l lyi n t e r e s t i n g is t h e c omb i n e d use o fautobiographica l s ta tements f rom the ar t i s tand biographica l research f rom the authors.

T h e t e x t is g r e a t l y e nhan ced by m a n y pho tosa n d a CD w i t h seve ra l o f Re inha r t ?s so lope r f o rmances .

Carole Dawn Re inhar t has generously offeredal l prof i ts f rom the sales of he r book th roughthe IWBC to be donated to the IWBC treasury.

C o p i e s o f C a r o l e D a w n R e i n h a r t ? s b o o k a n d C D a r e a v a i l a b l ef o r $ 2 5 . 0 0 f r o m t h e I W B C . See O r d e r F o r m o n p a g e 12

{Sager - Frotn Page 4)

thank you.? I said, ?Now you havesomebody write for you and you writeyour mother and you just tell her, youknow, this is all crap.? This is a sober-ing anecdote to counteract the innocent,upbeat images from war-time cinema ofUSO entertainers and their audiences.

Sager has recounted manymore stories that I w ish I had room tosharew i t h youhe re . A f te r we have lookedthrough Sager?s col lect ion o f memora-b i l ia , we are given a tou r o f wha t shecalls the ?torture room,? where her stu-dents receive their instruction. Bryan tand I are then invi ted upstairs to Sager?shouse f o r a dr ink o f cranberry ju ice. Aswe relax, she reiterates someth ing shehad told me ear l ier on the phone, whichis that she is p lay ing again, that she is, infact, exper iencing a creative renaissancein her entire approach to music. As sheputs it, her ?teaching chops? are now,once again,being joined by her ?playingchops.?

?Af ter Mary was buried,? shetells us, ? I got to th ink ing, ?what am Igoing to do?? She was my r ight hand.She knew all my weaknesses, all therotten s tu f f about me and st i l l said,?You're okay.? N o w that?sa fr iend. SoJlooked at that t rumpet a n dI sa id , ?Baby,comeback tome.? A n d I picked i tup ands t a r t e d p lay ing and I don?t give a damni f nobody ever hears me again. I?m notp lay ing f o r anybody else. Idon?t give a

damn, I jus t play. I play w h a tI f ee l . I s i tback and ! put my feet up on the table andit saved my life.?

Yet , as we sit ta lk ing, Sagerbreaks out h e r t rumpet . Ceremoniously,she tel ls Bryan t how much she respectsher, how she hasn?t played for a soul fora very long time, but how she wants toplay now, f o r her. I t is a beauti fulmoment: Sager's lyr ical interpretat iono f a bal lad as Bryan t closes her eyes and

A Poetic Jazzy Meaning of?Tiny? Ernestine Davis

by Clora Bryant

is for Trumpet, that is thehorn Ernestine?Tiny? Davisblew,is for the I l u s t r i o u s careerT iny had and the innumer-able musicians she knew.?

is f o r the Need T i n y felt toexcel at the many swingingjam sessions. ©

i s for the Years Davis playedher horn and left her deepimpressions.

is for the Energy Tiny had,of this there was never anydoubt.is for the R h y t hm Davis fe l tdeep inside and it wou ld justcome pour ing out.is f o r the Ne rve that T inyhad to compete wi th the meni n h e r singing and trumpetplaying.is for the Emo t i o n and Ex-cep t i o na l Eagerness shedisplayed at every perfor-mance , wh i ch goes w i t hou tsaying.is for S t rong and Sensa-t iona l , two words that de-sc r i be T i n y D a v i s , the?trumpetiste?.is f o r T i n y , the name AnnaMae W i n b u r n fe l t f i t Dav is

bet ter than the word?obese?.is for the ImprovisationsDavis played in her soloswhile performing her life-Jong vocation.is for the Necessi ty T iny hadf o r per fo rming on stage toearn the audience?s appre-ciat ion.is for E x t r o ve r t e d , the oneword that sumsup Ms. Davisin a nutshell because wi thher group the Hel l Divers,T i n y was entertaining, ex-c i t ing and boisterousas hell!

is for the De t e rm i na t i o n that

kept T inya c t i v e through herlong swing ing career.is for the A n ima t e d per for -mances she gave on her t rum-pet year after year af ter year.is for the Ven t u r e some per-sona l i t y Dav i s por t rayedeach and every day.is f o r I d e l , and L o u i sArmst rong was the one T i n yemulated whenever she hap-pened to play.is f o r the Sweethear ts o f

R h y t hm , the female groupT i n y played w i t h for overnine years. Boy , wha t fun!

Now is the time to raise your glasses up h igh andcheer Ernestine ?Tiny? Davis somewhere up there in thesky because herj am sessions with Gabriel have onlyj u s tbegun.

listens w i t h deep appreciation as atruam-pet pioneer, col league and friend. Weapplaud, and the two trumpet pioneersembrace wh i l e I snap thei r photo.

Because o f the stories we ' ve beenhearing f r om around the country andsome o f our own very negative expe-Tiences work ing wi th our colleagues,the IWBC has decided t o conduct aninternational survey. The storieswe 've been hearing range f r om ob-scene words wri t ten on music to brasnapping to denigrat ing jokes aboutwomen or minor i t ies to pressures o fdemot ion or dismissal t o men expos-ing themselves. I f you have experi-enced anyth ing similar, f romthe seem-ing ly t r iv ia l to the outrageous, wewou ld l i ke to hear f r om you. You rcontact w i th us wi l l be kept str ict lyconf ident ia l and your experience re-corded anonymously .

We feel that gathering this infor-mation in this way is essential. Onlythrough this process can we document

(WBC Behavior Survey

.. DePaul Un i v e r s i t y . . .Un ivers i t y o f I owaBrad ly Univers i ty .

Kent State, Salem .

Indiana Univers i tyNo r th Texas State.

.-. FrauenkulturhausInternat ional T rombone Workshop .

.. Evangel ische Ki rchen Tage .....

and ident i fy the extent o f these prob-lems. Because o f our isolat ion f r omeach other (as female brass players)there is no easily accessible f o rum toi n f o r m a l l y d i scuss these issuesamongst ourselves. A f t e r gatheringthis in format ion and careful ly analyz-i ng it, we can considerj o i n t efforts t oaddress the problems and provide sup-port for one another.

I f you are interested in learningmore about our survey, or wou ld l i keto share you r experiences, please ei-ther wr i te orf a x . A l l responses w i l l b eseen b y the President and Ed i to r o n l yand every effort and precaution w i l lbe taken to protect you r pr ivacy,anonymi ty and safety.

I W B C Survey540 S. Geye r Road

St. Lou i s , M i s sou r i 63122

"Mi r iam": Midwest Tour Itinerary 1995Performed by Abbie Conant

. . . Un ivers i t y o f Minnesota.. . . . . . . . . . Minneapol is , MN?.. I thaca Col lege. . Ithaca, N Y. SUNY Potsdam . Potsdam, NY. SUNY Fredonia Fredoniak NY

March 16 Ind iana Un ivers i t y o f Pennsyvani Indiana, PAMarch 21 ... Eastman School of Mus ic ... Rochester, N YMarch 25 Western M ich i gan Univers i ty Kalamazoo, M I

Un ivers i t y o f Western I l l i no is Macomb, I LChicago, I L

Towa City, I APeoria, I L

F r e i b u r g , G E R

as Ve g a s , N V

H am b u r g , G E R

InvestigationalStudy

The Playing of W i ndInst ruments Dur ing

Pregnancy

GOAL: To compilea record ofsubjective experiences o f windmusi-cians while pregnant and experiencesofphysicians caring for pregnant mu-sicians. This collection shall be sharedwith musicians and physicians insucha way as to benefit both professions.

PART I C I PANTS : A n y w indinstrumental ist who has been preg-nant, anticipates pregnancy, or mayhave a general interest in the devel-opmental phys io logy o f pregnancyand wind inst rument performance.

I t i s ou r hope that this study w i l lenrich all women's l ives by contr ib-u t ing a body o f knowledge that hasreceived l i t t le attention and by con-t r i bu t i ng t o the advancement o fwomen's health. Anyone wish ing topart icipate please contact us,

Conf iden t ia l i t y is assured

Daniel W . Skupski , M .D .The New Yo r k Hospi ta l -

Come l l Med ica l Center525 Hast 68th Street - J 130New York , N Y 10021

André M. Smi th, M .S .Box 1595 - Cathedral Stat ionNew York , N Y 10021

Telephone: (212) 222-3243Fax: (212) 222-6179

Alberger, Mark, Business as Usualfor brass quintet. (c. 18") Ava i lab le f romHappy Mus i c , P.O. B o x 2842, SanAnse lmo, C A 94960. (415)457-3714

Biggs, John, Celebration for 3tpts, 4 hns, 3 tons (5'). L i turgical So-nata for 2 tpts and organ or 2 tpts, hn, 3tbns., tuba &/or string bass(6?30").Available from: Consort Press, Box50413, Santa Barbara, CA 93150.

Bums, Kr is t ine H. A t anos I f fortuba and stereo soundtracks. (8 '12" ) ,Ava i lab le f rom Dr . Kr is t ine H. Burns,36 Nor th Pleasant Street, #8, Ober l in ,OH 44074.

Cox, Cindy. W o r k f o r So lo T r om -boneand E lec t ron i cs , (c.8') Ava i lab lef rom: Cindy Cox at Department o fMus ic , Univers i ty o f Cal i forn ia , Berke-ley, C A 94720. (510)522-8256

De Wys , Margaret . Co l o r o f G l u o nfor brass quintet (5 1/2?). Pulse f o r t rom-bone (8'). Ava i lab le f rom the composerc/o Bard College, Annandale, N Y 12504.(914)758-5048

Marshal l , Pamela. Co l o red Leavesf o r solo horn. (6?15"). H i l l s ide for brassquintet f o r A ipho rn in Gb or F. (3' ).Ava i l ab le f rom: Sp indr i f t Mus ic Co., 38Dex te r Road, Lex ington, M A 02173.(617) 862-0884

M i l l e r , S c o t tL . S t u d yi n Brass forhn and tbn. (c. 7'), I n d u s t r i a l B reedf o r ob, tpt, and pno. (c. 8'). Ava i lab le

New Works fo r BrassCompi led by Faye-Ellen Silverman

from the composer c/o Performing ArtsCenter 146, St. Cloud University, 720Fourth Avenue South, St. Cloud, MN56301.

Peterson, Mark. Five Conjecturesfor brass quintet. (c. 8') Available fromHappy Music, P.O. Box 2842, SanAnselmo, CA 94960, (415)457-3714.

Ruehr, Elena. The Voyage O u tfor brass quintet. (c. 14") Ava i lab lef rom: Elena Ruehr, 276 Pearl St. #C,Cambridge, M A 02139,

Sartor, Dav id P. Po lygon for brassquintet. (17°30") Ava i lab le f rom thec o m p o s e ra t 2460 Fairbrook Drive, Nash-vil le, TN 37214,

Thomas, Karen P. Clarion Dancesforbrassensemble (4/4/3/1),(12'). Avail-able from the composer at 1408 N. 36thSt, Seattle, WA 98103. (206)632-7747.

Wel ls , David. Sonata f o r T r om -bone and P iano (ca. 9 ' ) . Ava i lab lef rom David Wel ls at 4321 NorthgateNE , Grand Rapids, M I 49505,

*No t e to Composers: Due to lacko f space we can only l is t those workswri t ten since 1992 and no more than twopieces per composer. The list ings wi l lappear in the order they are received.Please ma i l your l ist ing to Faye-El lenSi lverman, 330 W. 28th St. Apt. 70G,New York , N Y 10001-4722.

INTERNATIONAL WOMEN'SBRASS CONFERENCE

BOARD OF DIRECTORS

Susan Slaughter,PresidentConstance Weldon,Vice PresidentMary BahrRebecca Bower ,Newslet ter Ed i t o rVelvet B r ownBarbara But lerJan Z Duga, SecretaryLangston Fitzgerald, IIELaur ie F r inkRamona GaleyLaurel OhlsonRoger Oyster

EXECUTIVE DIRECTORTerri Flack

HONORARY BOARDOF DIRECTORSJoAnn FallettaCatherine FrenchGerard SchwarzFaye-Ellen SilvermanLeonard SlatkinJoan Towe rGail Williams