Gender Equality in Jazz: “It don’t mean a thing, if it ain’t got that [all-female] swing!”

By Kathryn Levell | March 19, 2019

An Ethnomusicology Project with The Mood Swings: Boston’s All-Female Swing Band

In 2018 Berklee College of Music announced its latest project, the creation of the Institute of Jazz and Gender Injustice, spearheaded by renowned drummer, first female Grammy Jazz Instrumental Album winner 2013, and gender equality activist, Terri-Lyne Carrington. For over three decades, ongoing debates in academia have tried to address gender imbalance in syllabi, the canon, and staff employment. Though progress has been made, there is much to be done. In the wake of the #MeToo movement, sexual abuse cases occurring within the music industry and educational institutions have become public knowledge/come to light. Organisations such as the Women in Music Boston chapter have created a support network for their members, educating in legal issues, offering support in harassment cases, and helping to create equal work environments and pay. There is an increasing trend for all-female bands amongst amateurs, in the classroom and the industry. In Boston there are established and newly formed all-female collectives across all music genres from punk rock to sousaphone street bands to jazz jam sessions hosted at the VirtuosityMusic shop. However, each group seems to function in small, hidden or closed networks, carving out their own space to exist with their close-knit followings.

This Ethnographic blog post aims to establish and document the current reasons why Boston based female musicians are attracted to the all-female concept. Do they feel excluded by their respective scenes or choose to distance themselves from mixed gender ensembles? Do these instrumentalists believe that exclusively female bands are the answer to gender equality in the music industry?

My research began by exploring two all-female musical communities in Boston: The Mood Swings Orchestra– a non-profit ensemble established 14 years ago, and the Veronica Robles’ Women Mariachi Band, founded less than a year ago. Due to time constraints, I narrowed my research focus to work more closely with the Mood Swings Orchestra. Prompted by my own personal experiences as the sole female performing in majority male bands and based on academic research, my fieldwork included: 10 hours of recorded one-on-one interviews, plus observations of rehearsals and performances with the Mood Swings Orchestra, Veronica Robles’ Female Mariachi Band and Ladama (a visiting Pan-American LatinX band). Using information gathered during observation, interviews, informal conversations with members over dinner and drinks; driving to rehearsals; I offer an insight into three main areas:

1. Social status, relationships and roles performed within the Mood Swing Orchestra and within wider Boston and Jazz communities

2. Why these musicians are attracted to the concept of an all-female ensemble

3. Their varying opinions (and wider perception) of gendered sound and instrumentation and performative gender

Historically, gender segregated musical ensembles were considered to protect women’s virtues according to cultural standards. However, as Judy Chaikins’ documentary The Girls in The Band (2011)  reveals, both managers and press presented hyper-sexualised characterisations of the women. So much so, that these musicians were not appreciated for their talent and skill, but instead reduced the female band into a novelty act for the male gaze. In her influential work, Sexing the Groove (1997), Sheila Whitely discusses how pop and rock artists adapt, play, and transform gender roles through:

  • costume
  • instrumentation
  • song choice
  • and sexuality

In doing so, musicians redefine or create a “performative” gender. Whiteley also demonstrates how feminism and lesbian culture have altered musical gender identities and simultaneously influenced mainstream Rock and Popular Music culture. I was interested in understanding how the Mood Swings address gender equality and identity, challenge societal and cultural gender norms through their performance and within the Jazz community.

The Mood Swings: Introductions, Relationships and Communities

Downstairs in the community dance school venue, there’s a building sense of excitement. Volunteers in floral garlands hurriedly add the final touches for tonight’s Swing Dance Time event. A couple are organising a snack table with non-alcoholic drinks and another re-sellotaping the flimsy plastic decorations of brightly coloured trees, flowers and animals to the wall scenery. The effect is more children’s birthday party-esque than the Hawaiian theme advertised. Although when the hall lights are dimmed and the fairy lights and disco ball are switched on, the very beige, almost depressing community hall is transformed into a festive atmosphere.

Upstairs the band are drinking home-brought Vodka and Beers before the set and joking about being told off by the event organiser. My introduction to and the reception by the band could not have been more positive and welcoming. Finally, after weeks of correspondence, I meet Andrea, the band manager, who in turn introduces me to Kathy (sound engineer, founder, previous conductor & trumpet player) and the current band leader Jude. Kathy suggests best places for recording sound, so I set up some kit then Andrea introduces me to the band upstairs in the “green room” (a corridor by bathrooms where the band have gathered during the introductory dance lesson to drink and catch up with their band friends). She asks me to tell the band a little about my project. As soon as I’m introduced, Suzanne ushers me to the cooler bag to fix me a drink. Everyone seems very interested and keen to share their experiences and views immediately. After about 10 minutes one member asks “Are you not going to record this? Can you remember all this?” I explained that it felt too intrusive to bring out a voice recorder between sets on the first night I was introduced, especially as I didn’t have full permission from everyone yet about recording as yet. This seems a far cry from other ethnographers who have to work hard to earn the trust of their collaborators. I can’t believe my luck. There are lots of jokes about my British accent and an interest in exchanging my musical history for theirs.  It is clear that these women form a tight-knit community. They meet at least every other week to rehearse or perform, and there’s an extended sense of community as subs regularly switch in and out of core ensemble. Tonight’s subs include a drummer, bassist and vocalist.

Every so often, conversations are briefly interrupted by explanations of dance steps over the dance instructor’s headset mic followed by brief musical interjections from the DJ over PA system that drifts upstairs. Jude chats animatedly about how proud she is of MSO, whilst flipping through tonight’s five new arrangements (the rest of the set she knows by heart). Jude generously offers a chance to perform with them at the concert. However, this was more than a jam session, it was a paid swing dance event and I would be replacing their pianist for a few songs. I did not feel comfortable doing this on the first time I met them, so politely declined and suggested I joined in on a rehearsal instead. Later that night I kicked myself, hoping that refusing this enormously kind gesture to play with the band wasn’t considered rude. However, as a group of us had immediately prior to this had been discussing the lack of opportunities given to women, I did not want to exclude the pianist in a concert she had worked hard to prepare for, change the group dynamic, and even mess up playing.

Swing time is a monthly LGBT swing dance event aiming to foster inclusive dancing practices using the idea of lead and follow opposed to gender roles. The largely female audience (approximately 40 people) included some new participants, a lot of regulars, and ages spanned from teenagers to those in their sixties. One couple, who travel all over New Hampshire and Massachusetts to dance with Mood Swings whenever possible, explained the Mood Swings Orchestra play quarterly at the Swing Time event and their excellent performances draw a bigger crowd. Later it is apparent, they are good friends with Jude, with whom they both swing dance mid-song during the band’s set.
Kathy and Jude mid-dance at Swing Time event, 9th February 2019.

Mood Swings Orchestra video taken at Hawaiian themed Swing Time dance event. 2nd February 2019, Brookline Academy of Dance

At one point, Kathy and Jude dance together, leaving the band leaderless and without sound engineer!  I too participated in swing dancing after some encouragement, when one of the band’s wives told me to “Put down your recorder and dance! Take part!” and was promptly dragged me onto the dance floor (I have two left feet). As she taught me the basic steps, I gained a greater understanding and joyful experience in reacting to the band’s music on another level. There was a communal bond with the other dancers, and I could appreciate when dancers are advanced, there is a form of exchange and reciprocity with the band, reacting to their playing and adding energy to the room, rather than just watching, hearing and appreciating the music.

The Attraction to the All-Female Concept: support and compassion

The Mood Swings Orchestra is currently made up of: twenty core personelle; band leader Jude; Founder, Sound engineer and Vocal leader Kathy; Band Manager and Baritone SaxAndrea; plus, a rotating subs (substitute musicians) list and featured guest vocalists. Its members range from their early 20s to their late 70s. They are a collection of professional musicians, music teachers, music conservatory graduates, and amateurs (astrophysicists, artists, engineers, health care employees, lab scientists, retirees) who identify as Lesbian, Bisexual, Transsexual, and Heterosexual. Band Leader Jude explains that the careful selection process of MSO repertoire includes classic big band hits made famous by female vocalists of 1930s and ‘40s. Their upcoming concert First Fridays in Rosendale is one of the annual highlights of their gig schedule. This year’s concert May 3rd the repertoire is solely based on the works of female Jazz musicians. As a whole, the band has a great impact and specific role within numerous Boston communities. In particular, MSO serves but is not limited to: the LGBT community – playing private events, weddings and swing dances; Seniors Centres as part of entertainment programmes (also acts as engagement in memory therapy), dedicated women’s events – such as International Women’s Day; and charities / causes of personal significance for members – performing at organised fundraisers for homelessness and poverty, educational, health/ disease charities.
Senior audience dancing and enjoying Mood Swings Orchestra concert. Video taken at Linden Ponds Residential Home. 22nd February 2019.

Mood Swings Orchestra at Biogen, International Women’s Day Event 2019.

Information/Inspirational hand-outs distributed by Biogen event team, decorated room with purple balloons.

Members are dedicated, often remaining in the group for many years. Michelle Oshima, Bridie and Martha have played from the early years, Tibz and Jude moving with Kathy from her previous LGBT Swing Band Cheek To Cheek. The newest member Amelia joined in August 2018. Subs sometimes wait for years before making it into the band full-time, Michelle had to share the drum chair for four years. Many consider the band their family and count their colleagues amongst their greatest friends. Loyalty is honoured, musicians are not auditioned, demoted or asked to leave if someone with a higher skill level arrives. Solos are offered and encouraged at all levels.  Jude describes how MSO’s supportive atmosphere impacts their musical creativity:

People can take chances with their instruments, with what they know (in terms of theory and construction of a solo) and everybody is encouraging about that chance. They don’t dissuade you from doing things that lead you down a more creative path because, you know … to be able to create music spontaneously the way that we do, it requires some trial and error. You know, in a laboratory sense and in a safe zone. And we’re able to provide that for each other. The more other people see other people take chances and learning something from it, the more they, themselves wanna take that on.

Her proudest moment as band director (a story often repeated within the band by various members) tells how a sub once described how MSO musicians are uniquely considerate in a musical sense.

“People make space for each other in the band you know? They’re aware of handing off the spotlight, they’re gonna take it back eventually, but they are aware of it, and they are ok with it. And they clap for each other, they go Whoo-hoo for each other and they do something nice you know?”

For professionals and amateurs alike, to dedicate vast amounts of their time (concerts require taking time off work, long drives, sometimes weekends away) without payment, and to keep personelle turnover low with a list of subs always ready to jump in, there is a definite attraction to the Mood Swings that members haven’t found in other professional bands. Every member believes it to be due to an all-female environment.

The support when soloing both in rehearsal and performance is exceptional as can be heard and seen in the videos below. Time is invested in the players learning new and building on existed skills. Professional clarinettist and tenor saxophonist Diane runs improvising workshops to build confidence and create a tool bag of tricks for her colleagues to really shine.

Marie describes how her musicianship is affected positively by the support she experiences in an all-female environment.

In the Mood Swings, we all aim to play at a professional level. It’s thrilling to be in a group that is striving to be professional even though we’re not paid. I was just telling that Colleen that when I play with this group, all tension goes, we really are a team and I play better here than I play other in other groups and other places because I don’t feel any tension, I feel us all in the music. Colleen will always say “You know you got to stop saying you’re not as good as everybody else because you are”. And it’s just that genuine caring for each other. That’s a real, that I think does it. And I think it’s rare. I really think it’s rare.  I haven’t felt it as much in other groups. There’s always, and then I don’t play as well as the other groups because I can, I can sense when there’s tension. Yeah. Again, they tell encourage me to do it. And Jude will encourage us to do it so that we’re all growing as musicians while we’re here.  That’s my perfect retirement, that was absolutely my dream. My first gig turned out to be a fairly fancy benefit and I walked up on the stage and the lights and all it. Oh my gosh. I’ve arrived in heaven. I’m actually doing this!

Avoiding Bullying, Exclusion and Harassment – Healing from traumatic experiences

By day, Tibz is an accountant (retiring later this year), National Park lover and motorcycle enthusiast. To me, she is a fellow former oboist, a confident tenor saxophonist ripping up solos, and a fountain of knowledge of the Womyn’s music scene and movement, firing on all cylinders, ready to educate me, recommend artists, books, information that might be helpful to my research. My chats with Tibz driving to and from concerts, helping her with her bags (she was injured when her motorbike fell on her ankle), between set up, and my first one-on-one interviewee were enlightening. She shared her musical education, influences and experiences of the changing Boston music scene. Tibz became involved with the exclusively female Wisconsin Festival (from the early ‘70s to 2015), promoting the idea of nature and the arts to help women connect spiritually. The festival was formative Tibz’ identity, the first place she began copying other butch women. In 1978, after completing music conservatory training Tibz moved to Boston to pursue a career in instrument repair. This never materialised as opportunities producing Womyn’s music concerts arose, while she began playing sax in the small Boston based women’s jazz circuit at loft jam sessions run by Cathy Lee (writer specialising in Women in Jazz and part of the Women’s Jazz Festival in Kansas City), took lessons with Cercie Miller and idolised her band called Girls’ Night Out.

Just the fact they were doing that at that time [1980’s] kinda spoke to what they saw as their opportunities. Nobody was going to let them shine, without the opportunity they made for each other…. I’m not aware of any women’s jams [currently] but there’s this little [women’s] network though I know some musicians, but there’s jazz and there’s pop and they don’t cross over that much from what I see.

In her experience, many women seek out all female groups due to “traumatic experiences” working with men. In this extract, Tibz describes the effect of how previous gender discrimination, harassment and humiliation prevent women from soloing even in an all-female environment. We discussed the need to build a safe space wherein women feel able to play, experiment and build up the confidence to solo, eventually time to heal.  Diane’ssoloing and improvisation workshops have played a vital role within the band’s development.

Tibz solo applauded by band and audience at Linden Ponds Senior Home. 22nd February 2019.

In order to not reveal the identity of certain band members, I have included an edited transcript of our discussion.

Tibz: Those who will [solo] are rare birds you know? In fact there’s no rhyme or reason either. One member was taught by her father how to play, he soloed and he taught her. He was also very rough on her. We played for him once and he was very gracious to me and very rough on her.  It was very hard to watch. It was like “Jeez was it that hard always for her?” It was a wonder she became a sax player. But he taught her to solo. Another woman is a fabulous musician was a music educator for a career but didn’t learn to solo. She will and she knows the fundamentals and there is all smiles when she does it, but she doesn’t want to do it. Like what’s wrong with that? Yeah. So that’s what we’re trying to address by having workshops, you know. Heff gave us just enough music. Something with some pentatonic scales drawn out and yeah we went straight for that we aren’t even dealing with blues scales just you know it’s something where you cannot play a wrong note is where we’re starting. So people in the band really liked it. We’ve tried a few different things over the years but it’s much harder nut to crack. And that I was surprised by.. I guess really, well, from my colleagues who will say they want a solo. They have to also bring it, right? They have to be willing to practice this thing, to do it. It breaks my heart though. But you know everyone in the band could solo really successfully.

KL: Do you think that is based on previous experiences that they don’t want to solo?

Tibz: I know for a fact. A sub is going to play is going tomorrow, she plays on her Great Uncle’s horn, but she will not solo. It’s because she was in a band, full of guys and I don’t know what happened. She hasn’t told us what happened you know, but she won’t solo and she comes from this musical family that was really supportive and probably at some point had helped her. She played in this jazz band at Boston University and somehow it became too traumatic. I mean actually I think that’s probably one of my reference points for saying we’re traumatised, you know. it’s our response it’s like because it was it’s my impression that she has and now she won’t. And someone else she has this beautiful sound and this beautiful solo. But she was too anxious. And another member is gonna be playing that now. And like these are good players,  just great players. You know they could do this but won’t. It makes me sad that we can’t have our whole creative musical selves…

Even in the space that you’ve created especially to protect …

I know! But also I guess we should take a long view right? Maybe it takes a while to be in this metamorphosis stage.

Recent Boston Conservatory graduate Amelia tells of how exclusion from the boy’s club, bullying (including her trumpet being hidden for a week by a jealous male colleague), dealing with egos, whilst simultaneous struggling with ill health, resulted in taking time out of conservatory training and later deciding to not to pursue a career in music performance. Fortunately, she has re-found her joy and creativity fulfilled by the Mood Swings. We also discussed sexual harassment issues within Boston Conservatory and the BSO.

 

*This interview excerpt contains information regarding known sexual assaulters within academia and the arts and may be upsetting for some readers.*

 

Gendered Sound and Instrumentation

In Nobody’s Sweethearts, Tucker (1998: 255-88) describes the “rough, ragged appearance” of the 1930’s Darlings of Rhythm Jazz band and how this gave these women a sense of credibility and authenticity as musicians rather than their “pretty, feminine” colleagues from the International Sweethearts of Rhythm. Various accounts show early female jazz bands performing “masculine” traits. Tucker continues:

“Through their emphasis on an aggressive approach to the music, on thunderous volumes, on authoritive horn and saxophone soloists, the Darlings represent one strategy for women’s claims to identities as jazz musicians. But this is not the formula by which all women jazz musicians conceive their art and their gendered musical identities.”

It’s a Wednesday evening in March, the ground still thick with snow and dramatically pointed icicles hang over the entrance to the United Parish of Aubendale.  Multiple communities are using the Parish for their space tonight, a children’s violin class, a children’s babysitting centre, and a religious congregation gather for Ash Wednesday Mass in the Chapel. The central room, another worship space, is lined with a local artist’s gallery collection, and the church’s Rainbow Pride Banner adorns the balcony. The high vaulted ceilings and rich, concert hall worthy acoustics, echo with excited chatter and laughter as the members of the Mood Swings trickle in. Everyone is engaged catching up with their musical family. Long, heartfelt hugs, kisses on the cheek and “how are you?s” are exchanged as instruments are unpacked, assembled and warmed up. Sustained tuning notes and bluesy licks begin to fill the air, whilst tricky passages recapped by some individuals.

Order is called for Andrea, the Band Manager, to share general news, changes to upcoming events, and logistics for tomorrow’s International Women’s Day concert at Biogen(a Biotech Company) in Cambridge, MA. We are all to meet at 4pm, collect our lanyards, and set up for a quick sound check, grab a beer and food, before the event begins. Meanwhile, Founder and President Kathy rushes round checking everyone has sheet music for tonight’s rehearsal, and prints out copies sitting at the back catching up on band admin.

In rehearsal Jude contains her dancing instincts, her conducting is more precise than performance and her critical ear is switched on. Teasing out musicality, detailed focus is turned to phrasing, swing feel and soloing. Tibz wraps up her solos standing despite her strapped injured ankle to murmurs of approval and whooping. Building the band’s momentum Jude calls out “Amelia – we got you!” whilst Ameliafloats above the band with a lyrical trumpet solo.  Jude constantly provides confidence boosts, using humour to raise spirits after a wobbly solo. Michelle, in turn, provides drum hits and cymbal crashes punctuating jokes and the room erupts with full belly laughter multiple times. Band members are encouraged to sing solos to explore the phrasing of a melody or the swing feel. Musical input and suggestions from all members are encouraged, others try playing solo to demonstrate or offer interpretations. The Mood Swings pride themselves on their focus on musical quality, awareness of which parts should be at the forefront, and sounding like an ensemble are priorities. During rehearsal, Jude makes comparison to local male swing band, the Tom Nutile Big Band, who, though they may supposedly be better musicians individually, they do not sound as good as an ensemble. Unlike the Darlings of Rhythm and the Tom Nutile Big Band, the Mood Swings believe the way to achieve the highest musical interpretation and best sound is through balance and a collaborative process.  Wanting to be the star of a section or playing the most technically challenging music is not the goal of the Mood Swings members.

Rehearsal recording 6th March 2019. Jude encourages the band to explore phrasing and swing feel in “Do Nothing til You Hear From Me”.

Mood Swings Orchestra rehearsal venue taken at United Parish Aubendale. 6th March 2019

Within the band itself, there are varying opinions on the Mood Swings sound. Members views and descriptions relate to gendering of sound and instrumentation, as well as style preference and skill level. The Mood Swings repertoire reflects their preference for the “sweet” melodies of 1930’s classic Swing Era. Drummer Michelle, Musical Director Jude and Trumpeter Amelia offer three very different opinions on their experiences of gendered sound and instrumentation.
Michelle explains how playing with Mood Swings Orchestra has challenged her to find new dynamic qualities and subtleties in her playing in contrast to her work with male power-house big bands.

Mood Swings is like a very musical group, we are not a super powerful group. I mean it’s easy to fall into the stereotype, but I find it to be totally true. Especially with trumpets, like when you have a male trumpets, their whole thing is gathering up all their testosterone and blow as loud and high as they can. And we don’t have that. I play with smaller sticks and I play quieter than when I played with big bands that were predominantly male. I think my playing has changed quite a bit over the years… the first thing is literally about force, about how hard I hit and the use of really hard emphasis, like rimshots, like hitting the snare drum in a certain type of way, or crashes, that you really need to do in big band but I’ve had to dial back to fit with the band. Another aspect is different ways of getting different sounds out of the instrument that can be much more delicate. There’s this one drummer, Miki Matsuki in the Boston area, who is also female, who is a real role model for me her playing is just amazing. She pulls sound out of, like, where I’m hitting the drum into submission, and saying “make this noise,” she’s like asking permission and saying “I’d really like for you to say this.” And physically when she’s hitting, instead of hitting through [demonstrates hand gesture] she’s pulling out of the instrument. It’s phenomenal and the sound is like crazy good. and so you know I’ve absorbed a little bit of that, where I can be more partnered with the instrument than the boss of the instrument.

 

In this interview extract, Michelle shares her reactions to derisive comments as a female drummer, life-changing experiences at jam sessions, her evolving drumming style and offers her unique experience as pre- and post-transitioning as a musician.

 

 

 

 

Whereas Musical Director Jude dismisses the “male-sounding” professional all-female Diva band (led by drummer Sherrie Maricle based in NYC  for only playing “high, loud, and fast.” She continues:

I think it’s a cultural thing to the extent that [DIVA] feel like, they have to play the repertoire that is associated
with a part of Swing that is all Stan Kenton, polyrhythms, they feel they are this collection of all

professional at every chair they can handle technically some of this more modern music, which is in that vein. It’s polytonal, it’s polyrhythmic, it’s not the original swing from the ‘30s and ‘40s, it’s an offshoot rhythmically and tonality wise, chordal wise, so they feel like they have to be in that space and they completely ignore a lot or the earlier, classical swing music. And that’s I think a competition with the male swing bands, the Stan Kenton’s of the world and their offshoots. We like Benny Goodman’s music, early Swing, the rhythm is more complex for the time, but is not a complicated as rhythm and chords become in the genre. They evolve another 30 years, so at the end of the Swing Era there’s this repertoire of music that’s very difficult, very, very difficult a lot of these band directors came along, arrangers came along and made all kinds of crazy pants stuff and they feel like they have to play that. And so to be able to challenge a band like that, you gotta be in the mode. I challenge them to play In The Mood correctly, that’s a hard piece. It’s not my favourite.

 

Mood Swings Orchestra Musical Director Jude in action at Biogen International Women’s Day 2019

 

Listen here for an in-depth exploration of Jude’s opinions on other band directors ’comments that “the Mood Swings don’t ‘play like girls’,” gendered sound and improvement in gender neutralization of brass instruments for young girls today.

 

 

Amelia knows she can play technically challenging material and as brilliantly as a male trumpeter but has to work twice as hard to get the recognition. She offers her experiences as a female brass player in regards to the evolution in gendering of instruments and critiques of gendered sound.

I think there’s also more women playing brass now. It’s becoming less and less of a thing, women play flute and clarinet and men play trumpet and saxophone, trombone. And I think in the end that’s going to be a good thing. Because how many people, like, I tried trumpet after I tried drums and piano, neither of those clicked for me at all. I can’t imagine how many people were told they can’t play the instrument they wanted to, because so many older women I’ve talked to, I used to play in community concert bands with 60, 70 year old women would come up to me “Oh you’re great! When I was your age I really wanted to play the trumpet but they wouldn’t let me so I played flute” and I mean that’s just depressing.

I came back from Spring Break and I had been working a lot on my sound to sound more orchestral at that point and I was also working on a piece and having all of the notes before starting putting in a lot of musicality. Because I wanted to make sure I had that down, and will I hit that note, or will that run go correctly. And so I remember, [my high school trumpet teacher] he was like “I have a guy and he misses a lot of notes sometimes, but he plays like he has cajones” you know? And that is the last lesson I took with him because I don’t need that kind of negativity. Why is it better that he is missing notes that he has a terrible vibrato so that like, something really aggressive? I ‘ve always gotten tonnes of compliments on my tone, on my sound, and I think it’s because I’ve always had a clear idea of what I want my sound to be. And if that’s not a masculine sound then, they can fuck off! My sound is full and rich, I’m always aiming to be resonant and I mean it depends what you’re playing. Like when you’re playing certain things you want to be warm, other stuff just floating, like a clear laser sound above an orchestra or like popping out and you can change your timbre and stuff. I don’t think I’ve ever heard someone play trumpet and me being like “that’s a really manly sound” like that’s never been something I’ve thought about.

 

Brass Section and Solo on Baritone Sax at Biogen International Women’s Day event 2019

 

 

Identity through Costume and Performative Gender

Concert attire has often been discussed within the Mood Swings Orchestra. Although clothing must be a combination of black and purple (the colour internationally linked with Lesbian Pride), they adopt a more flexible approach, favoring individuality amongst members representing their own style, presenting a sliding scale of “butch, androgynous, or feminine” identities across the band. Over a shared, post-gig meal of popcorn, nachos, wings and locally brewed beers at a 99 Restaurant, Kathy, Jude, and Andrea discuss with several members potential options, to create a “professional and more cohesive band appearance.” Their beloved floral Hawaiian shirts uniform (worn for summer and Swing Time Dance events) can be paired with trousers, skirts, and accessories so that every member is able to tailor to present their identity. One member requested something slightly more feminine for the “ladies” of the group, mooting the idea of peplum tops, quickly image searching for the women, Tailored blazers were dismissed as too restrictive, the possibility of wool sweater vests or cardigans were raised instead. So no-one feels uncomfortable for whatever reason, items are discussed not only considering identity, but sexuality, body sizes/types, revealing skin, and of course playability. Respect for everyone’s feelings is present in every decision, whether it be regarding performance or social life of the band.

 

During an interview founder Kathy describes how the celebration of individual identity and Queer pride are reflected within the Mood Swings costumes and logo.

Black with a splash of purple allows all of us to dress however we feel. So that could be a tuxedo. It could be a little black dress or anything in between. And it seems to serve us really well. We get everyone just being themselves. And yet we’re unified all in black with a little bit of purple. It’s a nod to the gay vibe that the band naturally has. About half the band identifies as Queer in some way. So I created the logo and put that purple triangle in it on purpose. I don’t know if the straight women realise that, I don’t know if they had caught on. But obviously it’s not a lesbian band but it’s a band that supports and celebrates [the] lesbians in it. So yeah that’s why I chose purple.

 

Mood Swings Logo

 

She further elaborates on the freedom she enjoys exploring in various performative identities through her own choices in costume.

They sometimes joke around with me, because sometimes I’ll show up, I’ve done a gig one time I was leading I had to substitute for Jude, and I did the first half in a tuxedo and I did the second half in a ballgown. So Jude’s always joking with me you never know how I’m going to show up, she kind of associates it with my sexuality as well. Like you never know what you’re going to get… Again, its safety I can do these things, I get celebrated for it, l don’t get “What do you think you are doing?” Or “You look funny!” Nothing, never. It always, people are always so happy to see however I dress up. It’s great.

Contemporary relevance of the All-Female Ensemble

Often professional musicians do not want to be labelled as an all-female band, fearing that the stigma associated with gender will become the central focus as opposed to the music. When interviewed as part of NPR’s Women In Jazz programme, pianist Renae Rosnes[1]dismays that Artemis, her all-female collective of world-renowned jazz musicians, are subjected to media coverage focussing on gender instead of reviewing their new compositions, performance and skill. She hopes there will be a time when female identity is not considered as the main description for a band, and that gender is not considered to be a  musical style.

The Mood Swings Founder, Kathy explains why it is still so important in 2019 that all-female bands are part of our musical community.

It seems like jazz, in particular, is one of the last bastions of sexism. And we learn that going into these schools, every girl we talked to you had a story of how they were put down or discouraged and made to feel inferior and not picked. Then they joined the band and they’d be given a flute. They’d have to fight to play the instrument that they want to play, which is ridiculous in this year. Apparently, there are a lot of music teachers that don’t recognize girls as equals. So, unfortunately, we’re still very much needed, a group like the Mood Swings. It’s kind of funny because it would be great if it wasn’t needed. You know the goal was that it wouldn’t be needed, just like the Freedom Trail band. There was a kind of existential point where “do we still need to march in Gay Pride? Do we still need a Gay Pride Parade?” Apparently, we do. So until, until everyone is accepted and celebrated for who they are and who they love and how they dress and how they identify. Until it’s not just like tolerated and accepted but actually celebrated. Then maybe things that empower, so just accepting that women can be professional jazz musicians is not good enough. You need to meet the girls right from the start. You have to be celebrated and encouraged.

 

 

 

 

 

 

Kathy is pictured here in two of her many roles as singer and sound engineer (Linden Ponds 24th February 2019)

Kathy’s interview extract covers the need for safe spaces for women, the function of the Mood Swings for its members and her future plans for the educational and outreach programs she hopes to run.

 

Conclusion

Following the opening address of the Berklee Institute for Gender Justice in October 2018, the selected panel of academics, activists and students argued that exclusively female bands do not aid the progression of gender inequity within the field. Before embarking on fieldwork, my initial project questioned whether all-female ensembles were a rudimentary, historical approach to address gender injustices.

I believe the current need for all-female bands are necessary to provide a form of equality desperately needed within the music industry and society today. My research has shown that all-female ensembles are vital to every community. All-female ensembles provide a platform that offers both: musical opportunities for amateurs and professionals; and, perhaps more importantly, a safe space for women to be creative, to empower each other and to heal from various traumatic experiences. In the future, all-female groups might not be necessary for young female identifying musicians, but I believe these spaces will continue to be sought out by those who have experienced, endured or suffered Jazz (or any music genre) under the patriarchy.

Trombonist Marie explains progress in gender equality she has seen both as a musician and as a Scientist since the ’50s.  She perfectly summarizes supportive community the Mood Swings have created, and the personal value and life-changing experience that each member feels. And so, I leave you with her words.

As hard as change is and it is very, very slow (and seeing my daughter still have to deal with some things that I had to deal with, which I thought had maybe might be done by then), but I think change is happening and that these other all-female groups are establishing themselves is wonderful. It’s moving in the right direction, I’m very proud to be part of it. This has been the most healing and just the ability to grow not just musically but also as a person with these women. I really do think of them as sisters. They’re my family now and you’re gonna get me starting to cry, I’m just so grateful to be with this group of people and incredible musicians. They lift me, they drive me, they push me to a better place, and you cannot ask for anything better than that!

Reflection and Acknowledgements

From the first time I met the Mood Swings Orchestra at the Brookline Swing Time Dance event, I was immediately welcomed as ‘insider’ due to my status as a female jazz student and swing enthusiast. There were boundaries to my research and involvement as an ‘outsider’ though. I regret there wasn’t an opportunity to play with the band – this may have added further insight as I have not played with an all-female swing band myself.  I am excited to continue my friendships built over this period and hope to work the Mood Swings in the future.

I would like to thank the inspirational members of the Mood Swings Orchestra whose time, knowledge, personal stories and support they gave so generously. It has been an honour to get to know them all. Their wonderful music and jokes made me smile non-stop. In particular, I would like to thank Amelia, Andrea, Jude, Kathy, Marie, Michelle and Tibz. Thanks also to Veronica Robles and her female Mariachis. Finally, of course, many thanks to Prof. Francesca Inglese, whose advice and suggestions throughout this project and my time at Northeastern University have been invaluable.

Endnotes

Chaikin, Judy One Step Productions,The Girls in the Band.2011.

Gourse, Leslie., and ProQuest. Madame Jazz Contemporary Women Instrumentalists, 1995.

Sarah Kerson and Nate Chinon NPRWomen In Jazz? For Artemis, It’s Bigger Than A Cause      Aired22. Nov. 2018https://www.npr.org/2018/11/21/669962702/women-in-jazz-for-artemis-its-bigger-than-a-cause

O’Brien, Lucy. She Bop II : The Definitive History of Women in Rock, Pop and Soul. Rev. Ed.] ed. London ; New York: Continuum, 2002.

Tucker, Sherrie.“Nobody’s Sweethearts: Gender, Race, Jazz, and the Darlings of Rhythm.” American Music 16, no. 3 (1998): 255-88. doi:10.2307/3052637.

Whiteley, Sheila.Sexing the Groove: Popular Music and Gender.London ; New York: Routledge, 1997.

 

The accompanying photo, video and sound portfolio capture rehearsals, multiple concerts types during:

Swing Time dance event on 2nd February 2019 at Brookline Academy of Dance;

Linden Ponds Retirement and Senior home, 24th February 2019;

Biogen, Kendall Square for the company’s International Women’s Day Event, 7th March 2019.

Rehearsal recording from 6th March 2019 held at United Parish of Aubendale.

 

Recorded Interviews were conducted in person and via Skype:

Tibz                  6th March 2019

Marie              6th March 2019

Jude                 7th March 2019

Amelia             7th March 2019

Michelle          9th March 2019

Kathy               10th March 2019

 

Interviews, audio and photos were given with permission to share and can be retracted at any point.

Posted in Spring 2019