Jacqueline Butler Hairston is the director of the Mills College Jazz/Gospel/Pop Vocal Ensemble. She has become a renowned composer, arranger, vocal coach, and choir director and has com
posed and arranged pieces for, and coached, such world-renowned artists as Kathleen Battle, Diva Leontyne Price, and pop group "En Vogue." As a student in her Mills choir, I want to capture a bit of the uplifting spirit that comes with every pra
ctice and paint a picture of the woman behind the music.
Jackie, as we call her, was born in Charlotte, North Carolina. Her mother was an elementary school teacher, and Jackie and her brother, George,
attended school where she taught. As Valedictorian of her high school class, she addressed her class at graduation and had amassed a wide range of accolades, including: "Attending a program, called the Preparatory Division, for gifted students at Ju
illiard School of Music, being thought of as one of the best pianists in my hometown, winning lots of awards, and being selected as the Minister of Music at my church at the age of 12."
When I as
ked Jackie what "moves" her and motivates her work, her response was a good summary of her philosophy which is revealed in various relaxation exercises and coaching techniques during practices: "Beautiful music of all genres, beautiful peop
le (inside and out) and beautiful opportunities for exceptional growth spiritually, mentally, and psychologically." Surely, this was expressed early on in her youth. Jackie "was always interested in music as a child," and had this to say ab
out her early days of interest and musical development, "when everyone in the neighborhood was taking piano except me, I was terribly upset. As I would pretend to play the piano on the kitchen table at home, singing my "make believe" songs,
my parents felt sorry for me, gave in and bought us a piano.” I practiced so hard and so often, my Mother would frequently say, "OK. That's enough for now!" However, with mom off acquiring her Master's degree for several summers at New Yor
k's Columbia University, one of three schools Jackie later attended herself, including Juilliard's School of Music and Howard University, the ability to keep young Jackie from the piano was obviously one skill that would prove hard to master in later year
s.
Interpreting music comes naturally to Jackie through exposure to Spirituals and playing songs as a child. By age eight, Jackie was writing and soon took to arranging music for others through variou
s community functions and, "My own little ensemble that I assembled." Indeed, having seen many of Jackie's arrangements and her turn around on songs given to her by choir members it does seem as though "GOD and all my spiritual helpers"
; are watching and heeding the voices in Jackie's life.
When asked about the importance of being someone who represents the people and culture of the music she arranges and teaches and how that affects the "authenticity" of the music an
d its message, Jackie states that what is more important is having a sincere love for that music, having a historic perspective of the music and its stylistic expectations, and finding ways to consult or relate to others in that heritage to ascertain pres
enting that music so that it's true to the form, and not a bad imitation, "the natural representation adds to the authenticity of that music, naturally. But I’ve seen musicians from, for example, the Asian culture who could play and present some
of my music as effective as me, because they’ve studied it, emulated the feeling involved, and strove earnestly to present it in its most appropriate form."
With a life full of “1st’s,” Jackie's ascent to the helm of Mills' first Gospel-style vocal ensemble isn't necessarily a "big thing," but she does express that it is important to, "mak
e it work, because I believe in 'the message of the music!'" Since Mills is a women's college, one might wonder if Jackie sees her music as "women's music": "Not readily, because I’ve always concentrated on good music in the genre
, regardless [of] the gender. But from time to time, I’m made aware of, generally speaking, that women are more and more earning the deserved praise for their artistic creativity. Perhaps, in my case, I’m biased, because if I take a piece of mus
ic written by a man, say, Duke Ellington, I still add my arrangement to it, and that’s good enough for me, from my womanly perspective." As for other political or social goals for her music, Jackie states that she did not come to this position w
ith any "preconceived notions." Instead, "I merely look at where I am, what my artistic concerns are, and how it fits into the scheme of what’s going on in the world as well as close at hand."
While she doesn't have as much time as she would like to arrange student work, Jackie does find it exciting that students bring her compositions and does her best to bring them to the group along with her own pieces. A more important fac
tor in the motivation of students is instilling principles that seem to carry over into life both inside and outside the musical world she shares with her choir. While it is too early to gauge the long-term needs of the Mills group, she still stresses to
students: "Commitment, loyalty, musicality, a spirit of cooperation, unification of purposes, individual growth- both personal and 'community-geared,' etc. A lot depends on the group. I find that I work with people on the basis of 'where they’re
coming from,' then try to instill incentives like decency, respect of self and others, or whatever appears to be required for that particular situation."
One thing that many of Jackie's students
consider is the notion of making music a career: "When a student wants to sing professionally, I tell them to honestly assess their ability to see if they truly measure up in this highly competitive music world. In addition, if I’ve heard them,
I try to advise them accordingly, if they are or are not suitably qualified for not only what’s required but whether they have that 'extra' something, totally unique and different from what anybody else has offered 'out there.' 'Singers come a dime
a dozen' is a frequent quote in the business. Networking: Go to venues where other working musicians are . . . attend concerts, shows, etc. featuring the best in a particular genre . . . get to know others . . . make oneself an 'open' type personality (to
the right people, of course). Also read books about the business. Truly study not only the art form, but the people who make the music happen. Balancing personal and professional needs? That’s a 'toughie!' It ain’t easy . . . you have to know y
our priorities, plan space and time accordingly, and then 'go for it!'"
As a new member of The National Academy of Recording Arts and Sciences' (NARAS) Board of Governors, Jackie, "Doesn't k
now how to gauge my influence yet." However, considering that she has already twice been either a Panelist or a Workshop Leader at their annual Vocal Tech days, and that NARAS, "Constantly offers workshops, forums, etc. so that people can learn
about them," her outreach to the musical community and service to its present and future is assured for the duration of her term, and beyond.
Jackie posed my final question to her brother, "
Dr. George Butler, a former Senior Vice-President of Columbia/SONY Records, who discovered the likes of a Wynton and Branford Marsalis, Harry Connick, Jr., produced greats like Nancy Wilson, Miles Davis, Carmen McRae, Grover Washington, Jr., et al, and is
now the new President CEO of Bethlehem Records, the fourth oldest Jazz label in the world." On the future of the recording industry and the participation of women, particularly African American women, he responded, “new technology is making a t
remendous impact on the business. I see African American women and women of color, in general, making significant contributions to the area, provided they ‘have what it takes,’ talent above and beyond any expectation, uniqueness, innovativeness,
originality, artistry beyond measure, etc. Women, not withstanding their ethnicity, have begun a major role already in the recording industry over and above, for instance, secretarial roles; e.g., they’re in business affairs, in marketing, and a var
iety of creative areas.”
One of the things that makes the end of every choir practice special is that Jackie asks her students for good things to mention about the day's practice and that we than
k each other for our efforts. With this in mind, I think Jacqueline Butler Hairston's students would have to agree that she is a terrific addition to the Mills community, that we can be thankful for Jackie's energy, and that, when we sing our "jazzed
up" version of the Mills College Alma Mater "Fires of Wisdom" at graduation, we will indeed have plenty to be thankful for. Thanks, to our Songstress!
Tuesday, November 16, 1999
Mills College, Oakland, Californi
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