![]() You can forgive them for lacking guts in their playing but even women should be able to play with feeling and expression and they never do it. Why is it that outside of a few sepia females, the woman musician never was born capable of sending anyone further than the nearest exit? It would seem that even though women are the weaker sex they would be able to bring more out of a poor, defenseless horn than something that sounds like a cry for help. An unsigned Down Beat article of 1938 illustrates one particularly potent masculine point of view: ![]() Simon wrote in The Big Bands (London: Macmillan, 1967), "and only men can play good jazz." (bold not in original) βIn addition to unfair pay scales, jazz women encountered equally hostile philosophical and sexist attitudes. Writing in Downbeat in 1952, he drily, but bluntly, summed up Marian's position in jazz: "She is English, white, and a woman-three hopeless strikes against her."β (bold not in original) β"Only God can make a tree," the swing historian George T. β Leonard Feather, a fellow expatriate from England, and well-known figure in the jazz world as a critic, composer, and record producer, had by then begun tracking Marian McPartland's career, carefully and with a certain concern. 15.3 Women in Jazz and Beyond in the 21st Century.15.2 Ten Rising Women Instrumentalists from 2018.15.1 Eight Rising Women Instrumentalists from 2016.15 Internet & Bibliographic Resources on Women in Jazz. ![]() 6.8 International Sweethearts of Rhythm.6.3 Ada Leonard's All-American Girl Orchestra. ![]()
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