JAM Magazine: June/July 1997 Issue: KC/DC

by Gregg Ottinger

CAROL COMER: MENTOR
K.C. Singer/Educator Speaks at Kennedy Center
On May 1-3 the Kennedy Center in Washington, D.C. presented the second annual Mary Lou Williams Women In Jazz Festival. In addition to many dynamite performances by some of the most innovative -- and, sadly, unrecognized -- jazz musicians on the scene today, the festival included seminars and discussions on the business of jazz. One of these, "The Importance of Mentors," included, as part of its distinguished panel, Kansas City's Carol Comer.

Ms. Comer was a perfect choice to participate on this panel. In addition to her ongoing work as an artist and educator, she was the moving force and spirit behind the Women's Jazz Festivals in Kansas City in the late 1970s and early '80s -- one of the first (if not the first) festivals to highlight women artists and their contributions to jazz. She is also a mentor for many emerging performers, including singer Angela Hagenbach (Comer is co-producer of Hagenbach's CD, Feel The Magic.)

"In every area of my life, I would never have been able to do anything without... wonderful people supporting, encouraging, mentoring and believing in me. That's 90% of it; maybe 100% of it. I try to mentor now because of all these things. Also, it's good for the soul." -- Carol Comer

The other panelists on hand to discuss the importance of mentors included Melba Liston, trombonist, composer and arranger for Dizzy Gillespie, Randy Weston and Cannonball Adderley and this year's recipient of the "Mary Lou Williams Women In Jazz Award;" Maria Schneider, pianist, composer and arranger for the late Gil Evans and the leader of the Maria Schneider Jazz Orchestra; and Marion Hayden, co-founder and bassist for Straight Ahead, and a co-founder for of the International Association of Jazz Educators' Jazz Mentoring Pilot Program. The moderator was Dr. Billy Taylor, the Kennedy Center's Artistic Advisor for Jazz and host of National Public Radio's "Jazz at the Kennedy Center" series. The festival performers included the Shirley Scott Trio, Straight Ahead, Ann Patterson's Maiden Voyage, Fostina Dixon & Winds of Change, the Tania Maria Quartet, the Jay Clayton Project, the Maria Schneider Jazz Orchestra, the Valerie Capers Trio, and Diva: No Man's Band.

In her remarks, Carol Comer talked of her mentors including cornetist Gary Sivils, a source of encouragement during her years as a writer for Down Beat, and singer Marilyn Maye, who urged Carol to start accompanying herself on piano when she performed. Also, there was Maxine Adams of Wichita, KS, who helped Carol pursue and organize the Women's Jazz Festival (for which Marian McPartland was the East Coast representative and Leonard Feather was "my guy on the West Coast").

"In every area of my life," said Carol, "I would never have been able to do anything without these wonderful people supporting, encouraging, mentoring and believing in me. That's 90% of it; maybe 100% of it. I try to mentor now because of all these things. Also, it's good for the soul."

The audience, which actively participated in the discussion and asked many questions, was made up primarily of jazz artists, educators and journalists. Not only did they enjoy Ms. Comer's anecdotes, but they also seemed to value her advice. One of her comments was of particular interest. "When I give workshops, I use a blindfold test with a tape of men and women musicians. I ask the participants to guess who is the man and who is the woman. For piano, for example, I play Gil Evans and Joanne Brackeen. Guess who they pick! The best part is that they leave the room, one, respecting women musicians more and, two, knowing that there is no difference."

When Dr. Taylor asked the panelists for their suggestions to people who need or want mentoring, Carol offered this advice: "All you have to do is ask. If you desire it, it will happen for you. Get your stuff together, have an accurate and up-to-date bio, send it around, and be an active participant. You cannot sit and expect someone to come around and say, 'I love you' and make you a star. You have to want it, you have to be qualified, and you have to get in touch with as many people as you can... People who will be sensitive to your talent."

Clearly, Carol has followed her own advice, and with great success. Perhaps of even greater importance, she also gives as much back. Carol Comer knows the value of a good mentor and has much to offer those wise enough to seek her comments, learn from her experiences, and share her friendship.

RETURN TO JUNE/JULY 1997 MAIN INDEX

------------------------------------------------------------------------
© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		by Gregg Ottinger CAROL COMER: MENTOR K.C. Singer/Educator Speaks at Kennedy Center On May 1-3 the Kennedy Center in Washington, D.C. presented the second annual Mary Lou Williams Women In Jazz Festival. In addition to many dynamite performances by some of the most innovative -- and, sadly, unrecognized -- jazz musicians on the scene today, the festival included seminars and discussions on the business of jazz. One of these, "The Importance of Mentors," included, as part of its distinguished panel, Kansas City's Carol Comer. Ms. Comer was a perfect choice to participate on this panel. In addition to her ongoing work as an artist and educator, she was the moving force and spirit behind the Women's Jazz Festivals in Kansas City in the late 1970s and early '80s -- one of the first (if not the first) festivals to highlight women artists and their contributions to jazz. She is also a mentor for many emerging performers, including singer Angela Hagenbach (Comer is co-producer of Hagenbach's CD, Feel The Magic.) "In every area of my life, I would never have been able to do anything without... wonderful people supporting, encouraging, mentoring and believing in me. That's 90% of it; maybe 100% of it. I try to mentor now because of all these things. Also, it's good for the soul." -- Carol Comer The other panelists on hand to discuss the importance of mentors included Melba Liston, trombonist, composer and arranger for Dizzy Gillespie, Randy Weston and Cannonball Adderley and this year's recipient of the "Mary Lou Williams Women In Jazz Award;" Maria Schneider, pianist, composer and arranger for the late Gil Evans and the leader of the Maria Schneider Jazz Orchestra; and Marion Hayden, co-founder and bassist for Straight Ahead, and a co-founder for of the International Association of Jazz Educators' Jazz Mentoring Pilot Program. The moderator was Dr. Billy Taylor, the Kennedy Center's Artistic Advisor for Jazz and host of National Public Radio's "Jazz at the Kennedy Center" series. The festival performers included the Shirley Scott Trio, Straight Ahead, Ann Patterson's Maiden Voyage, Fostina Dixon & Winds of Change, the Tania Maria Quartet, the Jay Clayton Project, the Maria Schneider Jazz Orchestra, the Valerie Capers Trio, and Diva: No Man's Band. In her remarks, Carol Comer talked of her mentors including cornetist Gary Sivils, a source of encouragement during her years as a writer for Down Beat, and singer Marilyn Maye, who urged Carol to start accompanying herself on piano when she performed. Also, there was Maxine Adams of Wichita, KS, who helped Carol pursue and organize the Women's Jazz Festival (for which Marian McPartland was the East Coast representative and Leonard Feather was "my guy on the West Coast"). "In every area of my life," said Carol, "I would never have been able to do anything without these wonderful people supporting, encouraging, mentoring and believing in me. That's 90% of it; maybe 100% of it. I try to mentor now because of all these things. Also, it's good for the soul." The audience, which actively participated in the discussion and asked many questions, was made up primarily of jazz artists, educators and journalists. Not only did they enjoy Ms. Comer's anecdotes, but they also seemed to value her advice. One of her comments was of particular interest. "When I give workshops, I use a blindfold test with a tape of men and women musicians. I ask the participants to guess who is the man and who is the woman. For piano, for example, I play Gil Evans and Joanne Brackeen. Guess who they pick! The best part is that they leave the room, one, respecting women musicians more and, two, knowing that there is no difference." When Dr. Taylor asked the panelists for their suggestions to people who need or want mentoring, Carol offered this advice: "All you have to do is ask. If you desire it, it will happen for you. Get your stuff together, have an accurate and up-to-date bio, send it around, and be an active participant. You cannot sit and expect someone to come around and say, 'I love you' and make you a star. You have to want it, you have to be qualified, and you have to get in touch with as many people as you can... People who will be sensitive to your talent." Clearly, Carol has followed her own advice, and with great success. Perhaps of even greater importance, she also gives as much back. Carol Comer knows the value of a good mentor and has much to offer those wise enough to seek her comments, learn from her experiences, and share her friendship. RETURN TO JUNE/JULY 1997 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.