Dorothy Donegan  Dorothy Donegan (April 6, 1922 – May 19, 1998) was an American jazz pianist and vocalist, primarily known for performing in the stride piano and boogie-woogie style. She also played bebop, swing jazz, and classical music. Donegan was born and grew up in Chicago, Illinois, and began studying piano in 1928. She took her first lessons from Alfred N. Simms, a West Indian pianist who also taught Cleo Brown. 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. She also studied at the Chicago Musical College and the University of Southern California. In 1942 she made her recording debut. She appeared in "Sensations of 1945" with Cab Calloway, Gene Rodgers, and W. C. Fields and was known for her work in Chicago nightclubs. She was a protege of Art Tatum, who called her "the only woman who can make me practice." She said that Tatum "was supposed to be blind...I know he could see women.") In 1943, Donegan became the first African American to perform at Chicago's Orchestra Hall. 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. 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. 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 recorded jazz world. 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.