DETROIT FEMALE JAZZ MUSICIANS ARE ALWAYS THE EPITOME OF PROFESSIONALISM

Bassist Marion Hayden

In April, I wrote an essay about young Detroit jazz musicians' lack of professionalism and indifference toward dressing well during their performances. A close friend in the jazz community recommended that I refrain from publicly sharing these opinions to avoid upsetting young musicians trying to build their careers. While many veteran musicians agreed with my viewpoint after reading the essay, younger musicians were not pleased with my comments. One well-known trumpeter checked me indirectly at a recent Dirty Dog Jazz Café concert, accusing me of hating his generation of jazz musicians, which is untrue. The young musicians can swing; I've written about that numerous times. I hate how his generation carries itself and their collective lack of professionalism. A displeased young saxophonist explained his choice of sneakers and jeans at jazz venues, attributing it to hip-hop's relaxed fashion rather than the polished sophistication of jazz musicians such as Terrell Stafford, Tim Warfield, and Jeremy Pelt. Some readers called me old-fashioned, questioning the relevance of attire to a musician's music. It's a valid question to ask. Young musicians dressing poorly for a concert disrespect the audience, venue, and music. Isn't it honorable to dress up for music? Jazz musicians traditionally dressed well as part of their professional persona. I shared insights from renowned jazz musicians on the importance of stage appearance. For example, Art Blakey advised Ralph Peterson that audiences judge musicians by their appearance before listening to them. I questioned whether jazz educators in Detroit emphasize this to young musicians.

My essay sparked a lively discussion. Vocalist Bettye LaVette mentioned she joined show business to dress up. One reader argued about the stagnant pay for jazz musicians at local clubs like Baker's Keyboard Lounge and Bert's Marketplace since the early 1980s. The comment that motivated me to write this follow-up essay questioned why I did not criticize female jazz musicians in Detroit. There was no need for criticism. Over the past 20 years, the female jazz musicians I have written about have consistently demonstrated professionalism. They are accomplished musicians who conduct themselves appropriately and merit acknowledgment.

Marion Hayden, Gayelynn McKinney, Leslie DeShazor, Joan Belgrave, Ursula Walker, Pam Wise, and Kate Patterson display flawless style and professionalism. Their concert appearances are as meticulously executed as their music. I consistently leave their performances feeling satisfied and eager for more. Patterson and Spanky Wilson are consummate performers. I experienced Patterson for the first time many years ago at a Grosse Pointe Unitarian Church jazz concert. She sang for an hour and made four wardrobe changes during the concert. She chose a different gown for each song. Both she and her band presented themselves elegantly that evening. The show was memorable. Spanky Wilson was another accomplished vocalist who loved dazzling an audience with her style, influencing the style of musicians like Marion Hayden. Recently, I spoke with Hayden about female jazz musicians' passion for their craft and elegant bearing. Asked if they possess something unique compared to male peers, she noted that women are more scrutinized, which necessitates careful attention to their appearance. Professionalism was ingrained in her from a young age throughout her career. She admired stylish artists like Ursula Walker and  Naima Shamborguer. Spanky Wilson influenced Hayden the most. She began wearing makeup during performances after Wilson lectured her about the importance of glamour. I don't know if other female jazz musicians like Hayden were taught the importance of professionalism growing up and taught that the stage was sacred. However, their behavior suggests they learned this lesson. Hayden read my essay and discussed it with the young musicians in her current band. She agreed with several of my points but acknowledged that times have changed, and the current generation has a different sense of style. She likes stylish musicians but implores young jazz musicians to follow the band leader's dress code. Young Detroit jazz musicians should be inspired by professionals like Hayden, Wise, DeShazor, Wilson, Walker, and Shamborguer, who exemplify how to represent jazz properly.