Congeniality by Ornette Coleman

SOUND PROJECTIONS

AN ONLINE QUARTERLY MUSIC MAGAZINE

EDITOR: KOFI NATAMBU

FALL, 2022

VOLUME TWELVE NUMBER ONE

HORACE TAPSCOTT

Featuring the Musics and Aesthetic Visions of:

BAIKIDA CARROLL

(September 3-9)

BILLY DRUMMOND

(September 10-16)

BOBBY MCFERRIN

(September 17-23)

ALBERT KING

(September 24-30)

CLORA BRYANT

(October 1-7)

DEAN DIXON

(October 8-14)

DOROTHY DONEGAN

(October 15-21)

BOBBY BLUE BLAND

(October 22-28)

ZENOBIA POWELL PERRY

(October 29-November 4)

CARLOS SIMON

(November 5-11)

VALERIE CAPERS

(November 12-18)

ROLAND HAYES

(November 19-25)

https://www.allmusic.com/artist/dorothy-donegan-mn0000191515/biography

Dorothy Donegan

(1922-1998)

Biography by Scott Yanow

A brilliant virtuoso, Dorothy Donegan constantly switched between boogie-woogie, bop, stride, Art Tatum-style swing, and classical music, sometimes in the same chorus. In concert, she often put together spontaneous medleys of unrelated songs and was never shy to dance while she played. She studied at the Chicago Conservatory and Chicago Music College and made her recording debut in 1942. Donegan made a sensational appearance in the film Sensations of 1945 but never caught on that big despite her remarkable technique. She recorded a lot less than one would expect (six obscure albums during 1954-1963 and nothing during 1964-1974) and was not really that well-known in the jazz world until the mid-'80s. A couple of live Chiaroscuro CDs from 1990-1991 found her in peak form, but she had to be seen to be fully appreciated. She died of cancer on May 19, 1998.

https://www.allaboutjazz.com/musicians/dorothy-donegan

Dorothy Donegan

Biography
Articles
News

Dorothy Donegan - piano

More than fifteen years have passed since the flamboyant jazz pianist Dorothy Donegan died. Sadly, few jazz fans, either then or now, are aware of what enormous orchestral capacity she had at the keyboard (1).

Dorothy was born in Chicago in 1924. Heeding her mother’s encouragement, she studied classical music at the Chicago Conservatory and the Chicago Music College. At eighteen, she became the first African-American to be asked to perform at Orchestra Hall in Chicago. The event created enough interest to lead to some work in a film (Sensations of 1945) (2).

At the age of fourteen and studying classical piano she was also beginning her own jazz career, playing for a dollar a night at the city’s South Side bars (1) During a performance at the Hi-Jinx Club one evening, she met up with Art Tatum, who was so impressed with her abilities he became one of her champions. Despite her accomplishments in playing blues and boogie-woogie piano and making a recording for the Bluebird label, her love was for classical music and she hoped to be a classical concert pianist.

Dorothy never forgot her love of classical music so she continued her classical studies at the University of Southern California and taking Master Classes at the University of Maryland when performing in the Washington DC area. Her perseverance in both genre made her an exceptional pianist with a rich harmonic sense (2).

Dorothy’s career spanned over sixty years of performing throughout the U.S. and abroad. The late 1950’s was the period during which she developed her performance style (2). The end result was a flamboyant style that tended to get in the way of her extraordinary piano playing, John. S. Wilson’s coverage of one of her performances sometime later, compared her technical virtuosity to that of Art Tatum (2).

Finding she was more comfortable in a live setting rather than the studio her career was centered on nightclub engagements. As a result she didn’t make many recordings. Scott Albin suggests there is a compilation CD, “Dorothy Romps: A Piano Retrospective (1953-1979) that provides a sample of her many abilities.

To quote Scott Albin: “She was best appreciated live, in lengthy well-attended engagements at night clubs like the Embers in New York and the London House in Chicago, where she offered kaleidoscopic sets that mixed her singing, dancing, and off-color jokes with piano excursions technically comparable to those of an Art Tatum or a world-class pianist.” Despite all this talent, in jazz circles she is scarcely thought of as a jazz pianist but thought of as a lounge entertainer. This is partly because much of her appeal was based on her visual antics (2).

In the 1990s her talents were once again recognized through her show stopping appearances on Hank O’Neal’s Floating Jazz cruises. Dorothy also lectured and received an honorary doctoral degree from Roosevelt University in 1994. She performed at the White House in 1993 and played her last concert at the Fujitsu Concord Jazz Festival in 1997 (2).

Many fellow musicians found her intimidating, which accounts for her solo performances with just bass and drums (3). To quote Dorothy: “I’ve snowed them (male jazz pianists) all except one (the late Art Tatum). Most of them play like women,” (3).

For an opportunity to hear her talents yourself go to YouTube and listen to

http://www.youtube.com/watch?v=m4de5d5S9lE. http://www.youtube.com/watch?v=3Bhebd9Wbkk.

Dorothy Donegan was married three times and died on May 19, 1998.

References:

1. Ratliff, Ben, Dorothy Donegan, 76, Flamboyant Jazz Pianist. May 22, 1998.

http://www.nytimes.com/1998/05/22/arts/dorothy-donegan-76-flamboyant-jazz-pianist.html Retrieved September 4, 2013.

2. Dobie, Wilma. Dorothy Donegan Did It Her Way: Fans Loved But Critics Belittled. August 20, 1998.

http://www.jajzzhouse.org/gone/lastpost2.php37?edit=920665948. Retrieved September 4, 2013.

3. Albin, Scott. Dorothy Donegan Revisited. March 17, 2009.

http://www.jazz.com/jazz-blog/2009/3/17/dorothy-donegan-revisited

Retrieved September 4, 2013.

4. Retrieved September 4, 2013.

http://www.amazon.com/Dorothy-Donegan/e/B000AQ153K/ref=ac_dtp_sa_link

https://www.arts.gov/honors/jazz/dorothy-donegan

NATIONAL ENDOWMENT OF THE ARTS

Dorothy Donegan

Pianist, Vocalist, Educator

Blessed with an enormous orchestral capacity at the keyboard, Dorothy Donegan was fluent in several styles of jazz as well as with European classical music. Underrated by some due to her proclivity towards showy flamboyance and her penchant for entertaining an audience, she was nonetheless an exceptional pianist with a rich harmonic sense.

Given her virtuosity, it's no wonder her earliest influence and one of her champions was the peerless master of the piano, Art Tatum. Encouraged by her mother to be a professional musician, Donegan was playing piano for a dollar a night at Chicago's South Side bars when she was only 14. She subsequently attended the Chicago Conservatory, Chicago Music College, and the University of Southern California, where she studied classical piano.

In 1943, Donegan gave a concert at the Orchestra Hall in Chicago, the first African-American performer to do so. This created publicity that led to some work in film (Sensations of 1945) and theater (Star Time). Her playing career was largely centered around nightclub engagements, as Donegan was more comfortable in a live setting than a studio.

In the 1950s, she developed her flamboyant performance style, which at times tended to obscure her extraordinary piano playing, deep sense of swing, and wide-ranging repertoire. She would often spice her performances with uncanny impressions of other pianists and singers, skills that enhanced her abilities as an entertainer.

She spent the bulk of her career performing in trios with bass and drums. Her appearance at the Sheraton Centre Hotel in 1980 broke all previous attendance records. In 1983, she appeared on Marian McPartland's NPR radio program, Piano Jazz. Despite her many years of performing, she didn't appear at the legendary jazz club Village Vanguard in New York City until 1987. The New York Times jazz critic John S. Wilson wrote at the time: "Miss Donegan has never let her show-business surface interfere with her virtuosity or her sensitivity as a pianist. No one since Art Tatum has brought together a flow of running lines, breaks, changes of tempo and key, oblique references and rhythmic intensity as skillfully as Miss Donegan does."

In the early 1990s, her show-stopping appearances on Hank O'Neal's Floating Jazz cruises brought her talents to the attention of another generation of jazz fans. She also lectured at several colleges and universities, including Harvard, Northeastern, and the Manhattan School of Music, and received an honorary doctoral degree from Roosevelt University in 1994. Donegan performed at the White House in 1993 and gave her last major performance at the Fujitsu Concord Jazz Festival in 1997.

Selected Discography:

Dorothy Romps: A Piano Retrospective, Rosetta, 1953-79
Makin' Whoopee, Black & Blue, 1979
The Explosive Dorothy Donegan, Progressive, 1980
Live at the 1990 Floating Jazz Festival, Chiaroscuro, 1990
Live at the Floating Jazz Festival 1992, Chiaroscuro, 1992

#EdSullivan #EdSullivanShow

Dorothy Donegan, 76, Flamboyant Jazz Pianist

by Ben Ratliff

May 22, 1998

New York Times

Dorothy Donegan, a jazz pianist who brashly mixed swing, boogie-woogie, vaudeville, pop, ragtime and Bach -- sometimes within a span of 10 minutes -- and who was known for an outrageous sense of humor, died on Tuesday at her home in Los Angeles. She was 76.

The cause was colon cancer, said The Associated Press.

Ms. Donegan was better known as a performer than as a recording artist, and her flamboyance helped her find work in a field that was largely hostile to women. To a certain extent, it was also her downfall; her concerts were often criticized for having an excess of personality. She would act out songs, mocking their words; do devastating parodies of pianists and singers, especially if they were in the audience, or get up and shake her hips while keeping up a left-handed riff.

She could push humor into brazenness and kept up a supply of off-color jokes. She told writers without hesitation that sexism caused her obscurity -- that, and her insistence on being paid at the same scale as her male colleagues.

Born in Chicago, Ms. Donegan was encouraged from an early age by her mother to become a professional musician. She was a church organist as a girl, and at 14 she was playing for a dollar a night at the city's South Side bars. She was one of many notable jazz musicians inestimably helped by the tutelage of Walter Dyett, a music teacher at DuSable High School, whose other students included Dinah Washington, Johnny Griffin, Gene Ammons and Von Freeman.

She played blues and boogie-woogie piano, even recording for the Bluebird label in 1942, but she aspired to be a classical concert pianist. She studied at the Chicago Conservatory and at the Chicago Musical College. In 1943, when she was 18, she gave a concert at Orchestra Hall in Chicago, the first black performer to do so. Time magazine covered the concert, and word about a pianist with a wide repertory and blizzard-fast fingers reached the jazz piano virtuoso Art Tatum, who came to her house to hear her play. Tatum showed her some of his technique, and remained the strongest influence on her playing.

Hollywood soon came calling. Persuaded by her agent to turn down a five-year contract from MGM, she accepted a $3,000-a-week contract from United Artists for one picture, ''Sensations of 1945.'' She appears in a duet scene with another pianist, Gene Rodgers, and the band behind them was Cab Calloway's. That was the end of her film career.

In the late 1950's she began a series of engagements at the Embers in Manhattan and the London House in Chicago. It was during this period that she developed her performance style.

By the 1970's she was more comfortable, making a living playing in festivals in America and Europe and attracting a fierce coterie of fans in New York.

A resident of Los Angeles since the 1950's, she would return occasionally to the East Coast for nightclub performances or a jazz-festival or concert-hall event. After a Town Hall performance in 1971, John S. Wilson wrote in The New York Times that Ms. Donegan ''showed a technical virtuosity that could be compared only to that of Art Tatum and a swinging drive that might be equaled by Mary Lou Williams.''

Ms. Donegan was married three times, and is survived by two sons, John and Donovan. Her last performances were in Monterey, Calif., last September, before diabetes and cancer rendered her too ill to play.

A version of this article appears in print on May 22, 1998, Section A, Page 23 of the National edition with the headline: Dorothy Donegan, 76, Flamboyant Jazz Pianist. Order Reprints | Today’s Paper

https://www.encyclopedia.com/education/news-wires-white-papers-and-books/donegan-dorothy-1922-1998

At a Glance…

Defined Her Own Style

Performed Nationally in Intimate Clubs

Troubled by Recording Difficulties

Selected discography

Sources

Dorothy Donegan rose to prominence in the male-dominated world of jazz music with unique flamboyancy and musical style. Mixing swing, boogie-woogie, vaudeville, pop, ragtime, and classical music styles with a heavy dose of “visual antics” and an outrageous sense of humor, she was best known as a performer rather than as a recording artist. While her recordings remain strikingly absent from most jazz anthologies, she made a lasting impression on her art form.

Donegan was born in Chicago on April 6, 1922. Her father, Donazell Donegan, was a cook on the Chicago, Burlington, and Quincy Railroad, and her mother, Ella Donegan, contributed to the family income by renting out rooms in the family’s large apartment. Donegan’s mother used this rent money to support her daughter’s music studies. Donegan readily admitted that it was her mother who truly appreciated her talent, who listened to her, and encouraged her to put feeling into her music. Her mother even served as her first business manager.

With her mother’s encouragement, Donegan began taking piano lessons when she was five years old and obtained her musical education in Chicago’s public schools. For the first five years, she studied with Alfred N. Simms. Later, the legendary Walter Henri Dyett, who tutored many celebrated jazz musicians, worked with her while she was a student at DuSable High School. She may have claimed, as Sally Placksin noted in American Women in Jazz, that she practiced to avoid housework, but clearly her dedication exploited her natural talent. By the age of ten, she was already performing as a church organist, and began playing jazz professionally in local nightclubs during her high-school years. As a 14-year-old, she played in southside Chicago nightclubs for $1 a night and even crossed the color barrier by performing at Costello’s Grill in downtown Chicago. At the age of 17, she was hired to play jazz piano with The Bob Tinsley Band.

In 1942, Donegan recorded her first album of blues and boogie-woogie on the Bluebird label. However, despite her early jazz success, she still aspired to be a classical pianist. Consequently, she continued her classical music education, studying piano with Rudolph Ganz at the Chicago Musical College and later attending the University of Southern California. One year after releasing her first jazz album, Donegan became the first African

At a Glance…

Born Dorothy Donegan, April 6, 1922 in Chicago; died May 19, 1998, in Los Angeles; daughter of Donazell Donegan, a railroad chef, and Ella (Day) Donegan; married and divorced to John McClain, Walter Eady, and William Miles; children: John, Donovan. Education: Studied at the Chicago Conservatory of Music; Chicago Music College, 1942-44; University of Southern California, 1953-54.

https://yorgo-douramacos.medium.com/culture-on-culture-dorothy-donegan-5578829c63e0

Culture on Culture (Dorothy Donegan)

Our artifacts tell what happened and what other possibilities there might have been.

by Yorgo Lee

March 27, 2020

Medium

Watch the video linked below then read the article.

https://www.youtube.com/watch?v=J6WFgLIPu7g

Dorothy Donegan, the pianist in the above clip, had all the makings of a star. She was compelling to watch, had loads of personality, and a fiery unique talent that could dwarf other performers otherwise thought to be great in their own right. For proof of this watch the accompanying video and notice the way her piano styling makes the other Pianist, Gene Rogers, sound like he’s playing with his hands soaked in glue, sticky and slow.

Granted comparing Donnegan and Rogers is apples to oranges, he’s got the blues down pat and uses it to competently anchor Jazz and Boogie Woogie elements. But Donnegan has everything all at once, Classical, Swing, Ragtime, Blues all intermixing with fizzy crackling ease and no single one weighing heavy as an anchor.

Her humor and elegance soaks every bar and stanza and when she pounds the floor with her high heeled shoes, turning the platform into a second instrument, she absolutely commands the space. She could stand at that moment and say anything and I’d believe it. She’s a star, flat out.

So why have we never heard of her? She had exposure. The above segment is taken from a widely released Hollywood film. People saw it. But if they went to their record store they’d likely have found no Donnegan recordings. Life soldiers on and other things catch the ear and she’s had no build up or press. The memory grows stale and a potential star becomes a strange side story.

Donnegan, a brash and self-possessed black woman with talent and confidence, got no buy-in from the established star making institutions. They had their say and their say was, “No.”

Not that you couldn’t be some combination of those things and still make it. You just couldn’t be all of them at once. Take Cab Calloway for example. He’s the band leader featured in the clip. He was a frenetic in your face black man playing aggressive swing music. His wild hair and free bodily motions were exactly the sort of thing that might enflame the ire of paranoid moralists and all manner of closeted and un-closeted racists. He has a strange but compelling sexuality tied entirely to his music and the personal distinctiveness of his presentation. But by shading it with manic humor and by being a man in a man’s world he got in where someone like Dorothy Donegan could not. Not to suggest he had an easy time of it. But he’s still famous to this day.

There are a lot of cultural fears confronted and [briefly] surrendered to in this clip. The central position of a black woman of prodigious talent overshadowing the men. The music growing and over spilling its bounds, being broadcast in Times Square. The flash mobs of otherwise respectable [white] citizens driven into a frenzy by the undeniable rhythms from the black band taking center stage. This sequence must have read like terrifying science fiction to racist prudes everywhere.

But along with describing in elaborate detail some elemental American cultural fears (un-regulated mixing). It also highlights some clear cultural desires. It’s a compelling sequence because it speaks to what we want, what we wanted then and what we want now: Freedom from fear. It’s exhilarating to watch people cast off self consciousness and racial consciousness and just get lost in the moment. They stopped well short of having any white people dancing with black, that was a freedom too far for 1945, even for acknowledged fantasy. But we are still left with the fears and desires placed in stark contrast.

Which leads to a question. What if that great big mess of fear and desire that’s all stirred into ecstatic music and dance in this video clip had shaken out differently in history?

-The fear of a strong black female star who owns her image and material could have given way to the desire to hear more of Dorothy Donegan.

-The fear of racial influence could have given way even in 1945 to the elemental desire to embrace the cool, the emancipated, the free.

It’s an easy thing to say, but hard to imagine, since that’s not actually what happened. Yet the currents were there, pulling in these contrasting directions. You can see it in this little slice from an otherwise negligible Hollywood trifle from 75 years ago.

Cab Calloway was a force of nature. Dorothy Donegan was an absolute treasure. And people wanted it all to be true. Otherwise they wouldn’t have fought so hard to deny it.

https://studsterkel.wfmt.com/programs/dorothy-donegan-conversation-studs-terkel

Dorothy Donegan in conversation with Studs Terkel

BROADCAST:

December 27, 1994 | DURATION: 00:54:59

Synopsis

Interviewing jazz pianist and composer Dorothy Donegan.

https://dcislandora.wrlc.org/islandora/object/grant%3A278

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Radio Interviews

Interview with Dorothy Donegan /

interviewed by Felix Grant

February 10, 1983

Description Dorothy Donegan discusses her career with interviewer and radio host Felix Grant. Donegan is featured on excerpts from recordings selected by Grant.

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Title: Interview with Dorothy Donegan / interviewed by Felix Grant, February 10, 1983
Contributor: Grant, Felix E., 1918-1993
Subject: Jazz musicians -- Interviews Piano music (Jazz)
Person: Donegan, Dorothy
Organization: WMAL (Radio station : Washington, D.C.)
Creator: Donegan, Dorothy
Contents: Love for sale / C. Porter (05:24-07:25) -- I just want to sing / D. Donegan (14:33-16:32) -- Lullaby of birdland / G. Shearing (20:41-24:42) -- I like the likes of you / E.Y. Harburg, V. Duke (30:01-31:22) -- I can't give you anything but love / D. Fields (37:26-38:56) -- St. Louis blues / W. C. Handy (42:59-47:27)
Date: 1983-01-01T00:00:00Z
Place Name: United States -- District of Columbia -- Washington
Resource Type: Sound recordings
Series: Sound Recordings - Felix Grant Radio Interviews
Original: 1 sound cassette (49 min) : analog, mono, Dolby B processed.
Repository: Felix E. Grant Jazz Archives, University of the District of Columbia
Location: ra3772156
Date Available: 2012-10-09T00:00:00Z
URI / Handle: http://hdl.handle.net/1961/2041-7641

https://www.npr.org/2017/04/07/522986185/dorothy-donegan-on-piano-jazz

Jazz

Dorothy Donegan On Piano Jazz

April 7, 2017

57-Minute Listen

Dorothy Donegan, pictured here with the Camp Robert Smalls swing band, is featured on this episode of Piano Jazz.

U.S. National Archives and Records Administration

This week's episode of Piano Jazz remembers NEA Jazz Master Dorothy Donegan (1922—1998) with a session from 1983. Donegan's technical command of the piano was nothing short of breathtaking, and she was known for her onstage antics and flamboyance. In the house with Marian McPartland, she attacks the piano, hammering away with her elbows and knuckles on "Darn That Dream" and "Stormy Weather." McPartland and Donegan play two pianos on "Lullaby of Birdland" and "Rosetta."

Originally broadcast in the fall of 1983.

Set List

"Stormy Weather" (Arlen, Koehler)
"Darn That Dream" (Van Heusen, DeLange)
"Lullaby Of Birdland" (Shearing, Weiss)
"Shadow Of Your Smile" (Mandel, Webster)
"Just In Time" (Comden, Green, Styne)
"I Can't Get Started" (Duke, Gershwin)
"Lady Is A Tramp" (Rodgers, Hart)
"It's The Talk Of The Town" (Livingston, Neiburg, Symes)
"Rosetta" (Hines, Woode)
"Little Rock Getaway" (Sullivan)

AUDIO: <iframe src="https://www.npr.org/player/embed/522986185/522988096" width="100%" height="290" frameborder="0" scrolling="no" title="NPR embedded audio player"></iframe>

https://en.wikipedia.org/wiki/Dorothy_Donegan

Dorothy Donegan

From Wikipedia, the free encyclopedia

Dorothy Donegan
Born	April 6, 1922 Chicago, Illinois, U.S.
Died	May 19, 1998 (aged 76) Los Angeles, California, U.S.
Genres	Jazz, blues, classical, boogie-woogie
Occupation(s)	Musician
Instrument(s)	Piano, vibraphone, vocals
Years active	1936–1998
Labels	MGM, Capitol

Dorothy Donegan (April 6, 1922 – May 19, 1998)^[1]^[2] was an American jazz pianist and vocalist, primarily known for performing in the stride piano and boogie-woogie styles as well as played bebop, swing jazz, and classical music.^[3]^[4]

Early life, family and education

Donegan was born and raised in Chicago, Illinois,^[4] and began studying piano in 1928.^[2] She took her first lessons from Alfred N. Simms, a West Indian pianist who also taught Cleo Brown.^[5]

She graduated from Chicago's DuSable High School, where she studied with Walter Dyett, a teacher who also worked with Dinah Washington, Johnny Griffin, Gene Ammons, and Von Freeman.^[1] She also studied at the Chicago Musical College^[4] and the University of Southern California.^[6]

Career

Donegan performing with American sailors at Camp Robert Smalls within Naval Training Station, Great Lakes, 1943

She was known for her work in Chicago nightclubs.^[3] In 1942 she made her recording debut.

She appeared in Sensations of 1945 with Cab Calloway, Gene Rodgers, and W. C. Fields.^[3] She was a protege of Art Tatum, who called her "the only woman who can make me practice".^[7] She said that Tatum "was supposed to be blind...I know he could see women."^[5]) In 1943, Donegan became the first African American to perform at Chicago's Orchestra Hall.^[7]^[4] She later said of this pathbreaking performance:

In the first half I played Rachmaninoff and Grieg and in the second I drug it through the swamp – played jazz. Claudia Cassidy reviewed the concert on the first page of the Chicago Tribune. She said I had a terrific technique and I looked like a Toulouse-Lautrec lithograph.^[5]

In May 1983, Donegan, along with Billy Taylor, Milt Hinton, Art Blakey, Maxine Sullivan, Jaki Byard, and Eddie Locke, performed at a memorial service for Earl Hines, held at St. Peter's Evangelical Lutheran Church in New York City.^[8]

Her first six albums proved to be obscure compared to her successes in performance. It was not until the 1980s that her work gained notice in the jazz world.^[3] In particular, a recorded appearance at the 1987 Montreux Jazz Festival and her live albums from 1991 were met with acclaim. Even so, she remained best known for her live performances. She drew crowds with her eclectic mixture of styles and her flamboyant personality. Ben Ratliff argued in The New York Times that "her flamboyance helped her find work in a field that was largely hostile to women. To a certain extent, it was also her downfall; her concerts were often criticized for having an excess of personality."^[1]

Donegan was outspoken about her view that sexism, along with her insistence on being paid the same rates as male musicians, had limited her career.^[1] In 1992, Donegan received an "American Jazz Master" fellowship from the National Endowment for the Arts,^[9] and in 1994, an honorary doctorate from Roosevelt University.^[6]

Personal life and demise

Donegan died of cancer in 1998, aged 76, in Los Angeles, California.^[6]
Filmography

1944: Sensations of 1945 – musical performer, United Artists
1980: North Sea Jazz Classics 1980 – live performance registration by NOS/NPO
1995: Jazz at Newport '95 – featured performer, concert for PBS
2008: Dorothy Donegan: Pandemonium

External links

Wikimedia Commons has media related to Dorothy Donegan.

Dorothy Donegan at IMDb
Obituary at JazzHouse.org

THE MUSIC OF DOROTHY DONEGAN: AN EXTENSIVE VIDEO OVERVIEW, A CROSS SECTION OF RECORDINGS, MUSICAL ANALYSIS AND COMMENTARY, PLUS VARIOUS INTERVIEWS WITH DOROTHY DONEGAN: