Women are claiming the spotlight in a genre long since publicly ruled by men and, according to jazz guitarist Mimi Fox, it’s about time
Speaking from her North Bay abode, Mimi Fox exudes the frankness and confidence one would expect from a jazz master in the prime of a rewarding career. When pressed for an opinion on the cultural significance of women in jazz, she relates a story from the 1970 incarnation of Art Blakey’s Jazz Messengers. Prodded by critics to discuss the group’s newest addition, ‘the great female pianist’ Joanne Brackeen, Blakey curtly replied “perhaps you mean our great pianist?” Indeed, the critical history of jazz has for too long read like a history of men. Of course, men were doing most of the writing. It’s been a long time coming, but the stereotypical subjugation of jazz women at last faces extinction. Consider some of the luminaries expanding the vocabulary of late. In the able hands of peerless saxophonists like Jessica Lurie, intuitive bassists such as Esperanza Spalding and world-class drummers like Terri Lynne Carrington and Allison Miller, the future of jazz will be an unequivocally egalitarian affair. Certainly worthy of a separate discussion, the future of jazz guitar will doubtless be carved by a similar cadre of heavyweights, but few can hold a candle to the fastidious virtuosity of Mimi Fox. Concluding her commentary on that long-overdue departure from traditionally female (read: non-threatening) vocal and piano roles, she remarks “women have always been a quintessential part of jazz; it’s just that now we’re finally getting credit.” Fox, who recently commenced work on her eighth release as leader, was never fazed by the gender ‘disadvantage.’ If ever she had difficulty being taken seriously, it’s not an issue now. A consistent winner over five consecutive years of DownBeat Critics Polls, her life, like the guitar artistry that imitates it, is anything but typical. Coming of age in Queens, New York, Fox first aspired to the trap set, which she has practiced religiously since the tender age of nine. A year later, drawing on a most unlikely inspiration (Mike Nesmith of the Monkees), she took to the guitar. After being coached through a few chords by a well-meaning cousin, she set to work. Upon returning to check on her progress a few weeks later, he was startled to witness the 10-year-old’s convincing rendition of the Beatles’ Rubber Soul, in its entirety. Mimi was a natural, his work was done. At first, she focused on popular music, mainly folk and R&B. The beginnings of an epiphany came with the advice of early bandmates, who admonished her to listen to John Coltrane. Fox serendipitously picked up a copy of Giant Steps, a record that remains an important influence. To a completely self-taught musician, ‘Trane spoke what seemed like another language; as much as she admired his music, she never expected to be able to actually play it. After a sort of “reverse commute” to the West Coast, Fox found herself making good money at Los Angeles studio sessions. Nevertheless, the work was unfulfilling and after six months of being “shouted at by producers” or “asked to play like Duane Eddy,” she hit the road again, this time landing in the East Bay. Taking an immediate notice of her discipline and natural affinity, Bebop maestro Bruce Forman fortuitously signed on as her mentor. Frustrating lessons to novice guitarists and fierce competition for a diminishing assortment of local gigs came next. Mimi was paying dues in earnest. By this point, she had chops to spare and focused instead on expanding her lexicon by transcribing relevant solos; a practice which she assures “paradoxically develops one’s own voice.” Adept in a number of formats (her recent release Perpetually Hip features solo and quartet sides), Fox will assist aspiring jazz guitarists with a free master class on the eve of this organ trio performance. Her devotion to education has come full circle these days; “just the right balance” of her time is spent as advisor of the guitar program at Berkeley’s Jazzschool. Otherwise, she follows Forman’s wise counsel to “learn to genuinely listen.” Experience is a pursuit which she has wholeheartedly embraced and the payoff is eminently obvious. Those fortunate enough to witness Mimi Fox in a live setting will marvel not at the work of a great female guitarist, but a great guitarist, plain and simple. Mimi Fox will teach a master class workshop at 7 p.m. on Wednesday, November 7 and perform at 7 p.m. on Thursday, November 8. Both events will take place at the Kuumbwa Jazz Center at 320-2 Center St. in Santa Cruz. For more information call 427-2227 or visit www.kuumbwajazz.org . The workshop is free. Concert tickets are $15 in advance and $18 at the door.
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