How did you come to be a drummer, and what fascinates you about jazz?
I started playing the drums because we had a set at home. I’m a third-generation musician – my father and grandfather were both drummers. My father also plays the saxophone, which was actually my first instrument. When I was seven, I switched to the drums. I think that children are drawn to music and instruments when they are introduced to them. Even from a young age, I was fascinated by the mysteriousness of music and that it enables us to feel something that cannot be put into words. Thanks to my father’s connections, many brilliant jazz musicians came round to our house, and I really wanted to be part of that.
What experiences as a drummer in a male-dominated environment had a particular impact on you?
Thanks to my father, I had direct access to the jazz scene – something that many women, especially young women, are denied. The many people I met introduced me to the tradition and history of this music. Then it was up to me to develop my skills. I didn’t have any female role models, at least not on the drums. But there were plenty of women I looked up to, such as Dianne Reeves, Patrice Rushen, Cassandra Wilson and Geri Allen. At some point, I became aware of my special position, and I came to understand what my female peers were going through. I opened my eyes and gained a different perspective on the experience of women in jazz. That’s how I became the musician I am today – more open-minded, more compassionate and also committed to gender equality.
What’s the situation regarding gender equality in the jazz scene?
There is progress, but we still have a long way to go. Our institute at Berklee carried out a study which found that only eight percent of jazz teachers are women, not counting vocalists. This figure is alarming and has to change. If aspiring female musicians see that there are female teachers, they might be more inclined to pursue a degree in jazz. When it comes to other forms of discrimination, an intersectional perspective is always important. A person who is racist is likely to also be sexist. Internalised sexism is real.
You made jazz history in 2013 when you became the first woman to win a Grammy in the Best Jazz Instrumental Album category. Do you think that power structures in jazz change more slowly than in other musical genres?
I used to think so, but I’m not so sure anymore. It’s probably not ideal in any genre, but jazz stands out because it is a very demanding genre that is almost impossible to master without intensive training. Without the right support, it’s harder to make it to the top in jazz – unlike pop music, where training isn’t quite so rigorous.
“There is a great deal of talent in the world, so the challenge lies in how to engage with the person you’re talking to as a human being. When we give meaning to our art and our lives, it becomes evident and inspires others.”
What are the things that you particularly want to convey to the students in Munich?
Young musicians should learn as much as possible about the history and tradition of music so that they can build on that. If you don’t go back far enough in trying to understand the significance of music – why it came into being in the first place and the stages of development it has gone through – this leaves gaps in your understanding. I also believe that young people need to reflect on their own stories – on the “why” behind what they do.
How can you contribute to greater gender equality in jazz in your role as a professor?
I think I contribute to this in various ways. My very existence and survival serve as an example to others. My perspective on the subject may make others feel that they are being listened to, or help them see things from a different angle.
Jazznacht mit Terri Lyne Carrington
Text: Anna Steinbauer
