[Congressional Record Volume 148, Number 38 (Wednesday, April 10, 2002)]
[Extensions of Remarks]
[Page E493]
From the Congressional Record Online through the Government Publishing Office [www.gpo.gov]


[[Page E493]]
       A COMMEMORATION OF THE ACHIEVEMENTS OF ERNESTINE ANDERSON

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                           HON. JIM McDERMOTT

                             of washington

                    in the house of representatives

                       Wednesday, April 10, 2002

  Mr. McDERMOTT. Mr. Speaker, jazz often has been called the only 
musical art form to originate in the United States. Beginning in the 
late 1800s, the music grew from a combination of influences, including 
black American music, African rhythms, American band traditions and 
instruments, and European harmonies and forms. Much of the world's best 
jazz is still being written and performed right here in the United 
States.
  One of the key elements of jazz is improvisation--the ability to 
create new music spontaneously. This skill is the distinguishing 
characteristic of the genuine jazz musician. Improvisation also raises 
the bar for soloists. They must not only be performers and reproducers 
of others' ideas but true composers as well. This is what gives jazz 
``fresh'' excitement at each and every performance.
  Jazz soloists are exceptional, undeniably unique individuals. I am 
fortunate to represent a district, encompassing the City of Seattle, 
which has produced more than a few of these. Ernestine Anderson is one 
such person, and on March 1st, the Rainier Club of Seattle honored 
Ernestine Anderson by bestowing upon her the title of Laureate.
  ``A voice like Honey at Dusk'' . . . that's the way legendary music 
producer Quincy Jones described her . . . and, he ought to know! Jones 
began his career in Seattle right around the same time Ms. Anderson 
launched hers. Anderson, Jones and Ray Charles were all part of the 
vibrant Seattle music scene in the 1940s and 50s.
  Born in Houston, Texas, Ernestine Anderson grew up listening to and 
singing blues and gospel music. When she was 12, she entered a talent 
contest and so impressed bandleader Russell Jacquet that he hired her 
to sing with his band. Relocating to Seattle with her family when she 
was 16, she soon discovered Jackson Street, the hub of Seattle's jazz 
scene, and started singing with the bands there. At 18, Ms. Anderson 
left Seattle to tour with the Johnny Otis band and, a few years later, 
joined Lionel Hampton's band. She settled in New York City in the mid-
50s and recorded with saxophonist Gigi Gryce--bringing her greater 
acclaim in the jazz world.
  She recorded her first solo album, ``Hot Cargo,'' in 1958 for Mercury 
Records, and that same year was featured at the very first Monterey 
Jazz Festival--now the oldest continuous annual jazz festival in the 
world. It goes without saying they have invited her back numerous 
times, including the 40th anniversary celebration four years ago. One 
year later, Ernestine Anderson was named Best New Vocal Star by 
DownBeat critics, and was featured in TIME Magazine.
  Musical tastes change, however, and individual singers or groups and 
the type of music they perform periodically go out of style. There was 
no exception for American jazz artists during the early mayhem of the 
Beatles, Rolling Stones and other rock groups who spearheaded the 
``British Invasion'' of the mid-60s. To make a living many, including 
Ernestine Anderson, migrated to Europe, where jazz appreciation was 
still strong and growing. After a few years, however, she returned to 
Seattle and went into semi-retirement--performing only occasionally in 
local clubs.
  Ernestine was special. The people of Seattle and the Pacific 
Northwest had recognized that early on. It was only a matter of time 
before other jazz enthusiasts around the country realized that again. 
One who did, bass guitarist Ray Brown, was instrumental in bringing 
Ernestine to the attention of Concord Records. He resuscitated her 
career, gave her backing, and produced her first albums for the label.
  From that second beginning, Ernestine has gone on to greater heights, 
including more than 30 albums, four of which have received Grammy 
nominations. She has performed at all of the major jazz festivals in 
North America, Europe, Japan and Australia. She was one of 75 women 
chosen by Pulitzer Prize winning photographer Brian Lanker for the 
book, I Dream a World: Portraits of Black Women Who Changed America, a 
work which put her in the company of Rosa Parks, Leontyne Price, 
Barbara Jordan and Toni Morrison.
  In October of last year, Ernestine Anderson was named one of 
Seattle's most influential citizens. She has been featured in an 
exhibit at the Experience Music Project along with Ray Charles and 
Quincy Jones as part of the history of jazz in Seattle. She also was 
named one of Seattle's most generous philanthropists by Seattle 
Magazine for her donation of time and talent to numerous charities 
including Rise 'n' Shine, the Detlef Schrempf Foundation, the Alliance 
for Education, the Garfield High School Jazz Band, and many other youth 
organizations.
  An avid sports fan, she frequently has sung the national anthem at 
major sports events across the country. Her annual appearances at 
Dimitriou's Jazz Alley during the week between Christmas and New Year's 
are eagerly anticipated, and New Year's Eve with Ernestine consistently 
ranks as one of Seattle's premiere events of the year.
  The Rainier Club has made a wise choice in naming Ernestine Anderson, 
Laureate. She is undoubtedly one of the best ambassadors of and for the 
arts in the Pacific Northwest. I congratulate her on a long and 
distinguished career, and wish her nothing but success for many years 
to come.

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