A 1983 New Yorker article by Whitney Balliet argued that “Women don’t have the grace and poise to play jazz.” While this comment wasn’t uncommon for the time, it certainly wasn’t universally accepted. In fact, this comment is what feminist writer and producer, Rosetta Reitz, sought to disprove through her decades-long efforts to promote underrepresented records.
This past Tuesday Feb. 6, the “Rosetta Reitz’s Musical Archive of Care” Bass Connections team hosted a discussion pertaining to the origins, findings, and thought process of this archive. Leading this discussion were researchers Anthony Kelley, Duke Professor, and Tift Merritt, Grammy-nominated musician. In this, the pair explored the key theme of artistic empathy utilized through the archival process. Archival artistic empathy describes the act of not making yourself the center of your findings but allowing them to enlarge your compassion. This theme was pertinent not only for Merritt’s research journey but also for that of Reitz.
Rosetta Rietz was a feminist, historian, and producer who recognized the absence of female voices within the jazz industry and sought to find the root cause. Through her efforts she quickly recognized that the women were there, they were simply unheard. Rosetta, determined to change this fact, began to collect information about the music of these women as a means of building a platform for them in Rosetta Records. This recording company was created for the sole purpose of promoting, rediscovering, and establishing the voices of women in the jazz industry, a rarity for the time period. With exactly 97 women under her records, Reitz was unwavering in her attempts to get their music picked up by major radio stations. Rosetta Records would go on to produce eighteen albums dedicated to many talented unknown singers and even some as big as Billie Holiday.
Rosetta was truly an influential creative whose influence extended beyond that of music. She was the owner of a bookstore in Greenwich Village. She went on to write one of the first books on menopause and on the absence of women in jazz. She was an active member in her community seeking to recognize and correct injustices. Reitz was truly someone whose compassion and artistic empathy shone through. This is not to say that attempts at not centering herself were always successful. Reitz often faced backlash from the media for appearing disingenuous due to ethical and legal concerns surrounding her work. These concerns largely apply to works such as her Jailhouse Blues record which utilized the voices and struggles of women in a Mississippi prison, released by Mississippi congress, to create a record. Many questioned if these women consented to this, how they felt to find this, and the overall ethicality in creating this.
The legacy of Rosetta Reitz is one full of great passion and love for the art that is jazz and women’s place within it. The Bass Connections research team has managed to bring it to life by employing their own artistic empathy. They have created a full picture of the complexities, devotion and love Rosetta had for life’s work further cementing the fact that women indeed have a rightful place within the jazz industry.
