Introduction

This semester in World Music, I have been learning about the cultural work and aesthetics of music around the world. I have been assigned to choose a music culture to conduct my own ethnomusicology fieldwork. I have chosen the Spelman Jazz Ensemble. In 1983, the ensemble was founded at Spelman College, an all women’s historically black college in Atlanta by Joseph Jennings. After almost three decades, Mr. Jennings is still serving as director of female jazz ensemble.  Since the ensemble is an extracurricular activity at Spelman College, the members change as students arrive and graduate from the college.

Director Joseph Jennings

2011-2012 Spelman Jazz Ensemble Members

Vocalists

Angelica Webster

Sasha’ Jones

Taylor Curry

Miya King

Instrumentalist

Alexandra Simmons/ Clarinet

Taylor Morton/ Trumpet/ Flugelhorn

Brittany Carter/ Alto Sax

Sharee Bookman/ Tenor Sax

Rhythm Section

Makeedra Hayes/ Bass

Donna Thompson/ Vibraphone/ Piano

Rikayyah Wilson/ Drums

During the course of the semester, I have been able to conduct interviews, observe rehearsals, and attend performances to obtain the insight that follows.



Donna Thompson on Vibrophone

Women in Jazz

The Spelman Jazz Ensemble challenges the generalizations of women’s typical role in Jazz.  When one thinks of the famous women of Jazz, they think of vocalist such as Ella Fitzgerald and Lena Horn; while men have flexibility between singing and playing an instrument, for instance, the legendary Louis Armstrong, who is famous for his trumpet playing and singing. Men simply would not hire women as musicians with the perceived notion that men play better than women and the women who were hired were typically pianist. Though the above are historical accounts of gender barriers, members of the Spelman Jazz Ensemble expressed that discrimination and generalizations of female musicians are still present today.  Nevertheless it is visible that the young women of the jazz ensemble feel empowered by being a part of a female ensemble in a “man’s world.”

Drummer, Rikayyah Wilson who in high school served as drum line captain shares her experiences as a female percussionist below.

Rikayyah Wilson on drums

Being a female instrumentalist is fun. It's nice to be able to say I'm a female percussionist, however there are instruments that females are stereotyped to play. For example, on a couple of occasions guys have come up to me upon me saying I was in band, and stated something like, "what you play, clarinet? saxophone?". Never once did anyone assume drums. Prior to high school, I would get a hard time from my male peers in the percussion section because often I would be the most skilled instrumentalist in the section, and would receive the parts that were the most difficult and most popular, and lead to a lot of jealousy and side-eyes

Group Dynamics

Motives

            Though the ensemble is a jazz ensemble, all members have not always had interest in jazz music. While interviewing the Spelman Jazz Ensemble members I noticed their motives for joining varied. For instance, Rikayyah has always had a passion for music in general, playing multiple instruments all throughout her life. Through middle and high school, she has participated in symphonic band, marching bang, drum line, and freshman year at Spelman College she played the African drums for Ashietu. I asked her what motivated her to join the ensemble and she honestly admitted,

I just didn’t have the patience for long hours and sweat brought about by the Morehouse drum line. I joined the Jazz Ensemble because my friend informed me that they were in need of a drummer. As the days went by, I fell in love with jazz.

 Other members obtained their passion for Jazz before arriving to college, teaching themselves to play instruments associated with jazz such as the alto sax. Miya King even stated that the Jazz Ensemble was one of her deciding factors for attending Spelman College. Witnessing Miya sing during rehearsals, snapping her fingers, and swaying her hips to the beat, her passion for Jazz was evident.

Vocalist Miya King

Commitment  

            The members of the Spelman Jazz Ensemble are students enrolled in demanding courses at Spelman College. Along with academics, the members are expected to attend the numerous individual, sectional, and ensemble rehearsals. This takes dedication, and while attending ensemble rehearsal, I observed some members are less dedicated than others. The particular rehearsal I am referring to was the last ensemble rehearsal before the Spelman Jazz Ensemble Spring Concert, yet all members weren’t in attendance. When I arrived to the rehearsal, only two out of the five vocalists were present, Miya King and Taylor Curry.  Kyla Greenfield had class at this time, so was excused; Anjelica Webster arrived late, and Sasha’ Jones failed to arrive at all. Anjelica, who is running for the title of Ms. Spelman 2012-2013 arrived apologizing, but wasn’t apologetic in her actions.  She walked in with smoothie in hand, and continued to drink it at the microphone; and requested for the ensemble to run through songs that featured her, because she was leaving rehearsal early. After Anjelica announced she would be leaving early, Taylor did the same, leaving Miya to hold down the fort. Mr. Jennings and other group members expressed their disappointment in the lack of consideration of the majority of the vocalist. The group didn’t complain much though, as if it was the norm and continued with the rehearsal with one vocalist.



Vocalist (left to right)
Kayla Greenfield, Anjelica Webster, Miya Kind, Taylor Curry, Sasha' Jones 





The Music

Jazz music is very liberal, so no two performances will be just alike. Many of the Spelman Jazz Ensemble members explained this to me using words just as expressive and freeing. Miya explained, as a music major at Spelman, the curriculum mainly focuses on restricting classical music, so performing in the jazz ensemble is an outlet. The vocalist and musicians are free to improvise and embellish the music, as long as they remain in an appropriate key and the main hook is played. Since the Spelman Jazz Ensemble originates from an academic setting they are always losing member to graduation and gaining new one, so Mr. Jennings rewrites arrangements every year to fit his new ensemble. Also because of its college setting, the ensemble continues tradition by performing countless styles of jazz: classical New Orleans, bebop, fusion, cool, swing, etc. The Spelman Jazz Ensemble’s music includes elements (scales, style, and mood) of different international music: African, Asian, South American etc. Every year the ensemble shares their music on a tour of the east coast. Below is a mash up of the Spelman Jazz Ensemble’s performance at the Women’s Jazz Festival while touring in 2011; I have pointed out some important transitions.

·         Begin with a clarinet improvisation by Alexandra

·         At 24 seconds the vocalists sing as an ensemble

·         At 45 seconds there is a improvisation by Brittany Carter on the alto saxophone

·         At one minute you see can see a vocalist’s form of improvisation called “scatting”: Here is a vocalist as a soloist, the ensemble features the vocalist as background singers (to a soloist) and as a group like shown at 24 seconds.

·         1:22 Mr. Jennings ends on Alto Sax

Cultural Analysis Conclusion

“ We bond over the music because the atmosphere is really loose and relaxed and since we all feel that way, it’s easier to play together and get to know each other. “

– Alexandra Simmons

Intrumentalist
left to right: Sharee Bookman, Alexandra Simmons, Taylor Morton,
second row: Brittany Carter

left to right: Taylor Morton, Makeedra Hayes

The Spelman Jazz Ensemble reflects the music they play: with their fun care free environment, and the individuality of its members, and the complex group dynamics.  The various commitments, experiences, and motives of the members create this complexity. However, what family isn’t complex? The bond these girls have is made visible by small acts of encouragement and lots of laughter. 

Vocalist



On one of our first stops on tour, on the way to the concert, one person started singing of our songs, I started singing the horn parts and bass parts, and before I knew it, we were all singing our own parts and laughing and giggling amongst our self on the bus. There was another time where we all congregated into one hotel room one night, and some people had their instruments. We rehearsed for the concert in the hotel room! I had sticks and some drum pads set up on the bed. I felt like that was dedication and bonding simultaneously. On the last night we all were walking around Times Square in NYC singing and dancing through the streets.

-Rikayyah Wilson