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Melba Liston

February 13, 1994 | LYNELL GEORGE
To slightly alter a popular lyric of a time, the past has presented us with standard-issue images of women in jazz that are often a little too cute for comfort. But back in the '40s, all-female jazz ensembles were a splashy novelty, as the war effort siphoned off tenured male musicians, spiriting them away from their prominent big-band gigs and marooning them across the country or overseas.
August 26, 1990 | LEONARD FEATHER
The past week has been a hectic one for Ann Patterson. She has been checking on the music that will be needed for two important dates--Monday at the Biltmore Hotel's Grand Ave. Bar, and Sept. 22 at the annual jazz festival in Sedona, Ariz.--and phoning the 16 other artists needed for rehearsal and performances. Patterson is not a singer; not a dancer, pianist or comedian.
November 10, 1991 | NANCY KAPITANOFF, Kapitanoff writes regularly about art for Westside/Valley Calendar.
Los Angeles artist Richard Wyatt likes to involve the community and reflect it in his work. "California Moment," his recently completed interior mural on canvas at the Southern California Gas Co. headquarters in downtown Los Angeles, includes his friends and family, and represents the ethnic diversity of the city. Last year he painted "Hollywood Jazz 1945-1972" on the south side of the Capitol Records building on Vine Street in Hollywood.
June 15, 1986 | LEONARD FEATHER
A few weeks ago, at the Hyatt on Sunset in West Hollywood, Ann Patterson's Maiden Voyage orchestra played to a crowded and enthusiastic roomful of music lovers. The ensemble spirit, the compositions and the soloists all represented big-band jazz at its highest contemporary level. What the audience didn't know was that none of the members can make a living simply out of working in this exceptional ensemble.
Like ritual, early most Sunday mornings, it wanders out alone. Not quite a voice, but a barely audible electric hum. Low. Just beneath the surface of the organ, this mere vibration finds form. Raw sound becomes comfort words. "Oftentimes one woman, one person, might start a song," says Bette Y. Cox, explaining the power of ritual. Depending on the house of worship, the person hosting that voice might be called "Aunt Jane." Maybe simply "Sister."
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