After finding an abysmally low number of women artists' work within jazz's unoffical book of standards, Terri Lyne Carrington set out to fix the problem with a book of her own.
, a collection of songs that were, in essence, bootlegged for students and teachers to learn from and teach from. Eventually it got published as. Ironically, Hal Leonard is the distributor for my book as well, even the publishers Berklee Press.
But when we looked through it for songs written by women composers – for the opening event of the institute I founded at Berklee, thesongs written by women, other than Ann Ronell's"Willow Weep for Me" ... and maybe a Billie Holiday blues [song]. we couldn't find songs written by women.Yes, that became the first initiative of the Institute. I was actually very surprised to know that – I hadn't paid attention to that beforehand.
Give us an example of a song – something that, perhaps, had really been left behind and forgotten and that you felt was important. There is a composer, her name is Sarah Cassey, who was from Detroit and lived in New York. She worked for a publishing company but she was a jazz composer and was really kind of well known back in the day. A lot of people recorded her music, but – it's not that there were hit records or anything like that, so I don't think a lot of people today know who she is. But Hank Jones, Herb Ellis, Ron Carter, people like that [all] recorded her music.
That's the interesting part about it. We don't know. We don't know what it sounds like. We're not sure yet because so many of the creators of the music that have been non-male have been replicating these systems. For instance, for me, I felt like I would be successful if I played like a man... and I think a lot of successful women have had that in their mind.
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