Category Archives: Advocacy

Paint Day: John Coltrane Mural

Philadelphia is the City of Murals. The murals celebrate events, as well as residents who have made a difference. Few are more celebrated than John Coltrane who moved to Philadelphia in 1943. Coltrane resided in an apartment in Yorktown before buying a house in Strawberry Mansion in 1952. The house is now listed on the National Register of Historic Places and is a National Historic Landmark.

Coltrane kicked his heroin habit and composed “Giant Steps” in that house.

In 2002, the Strawberry Mansion community, in collaboration with the Mural Arts Program, honored their former neighbor. The Pennrose Company demolished the Tribute to John Coltrane mural in 2014.

Tribute to John Coltrane Collage

To be sure, murals come and go. However, there is too much love for Trane to let the demolition go unnoticed. It has taken a while but a new mural celebrating the life and legacy of the jazz innovator will soon be dedicated. The community is invited to add a brushstroke at a public paint day on Saturday, August 19 from 1-3 p.m., at Fairmount Park’s Hatfield House, located at 33rd Street and Girard Avenue.

So get up for the down brushstroke. Everybody get up and join the Mural Arts Program, Fairmount Park Conservancy, Strawberry Mansion Neighborhood Action Committee and All That Philly Jazz.

For more info, visit Mural Arts.

Jazz and TV

In 1970, a band of musicians sounded a call to arms over the exclusion of black jazz musicians in the mass media, specifically commercial television. Broadcast TV was the dominant medium of the era. Multi-instrumentalist Rahsaan Roland Kirk spearheaded the Jazz and People’s Movement. Kirk circulated a petition in New York City jazz clubs which was signed by, among others, Lee Morgan, Charles Mingus, Andy Cyrrile, Freddie Hubbard, Cecil Taylor, Elvin Jones, Pharoah Sanders, Archie Shepp and Roy Haynes.

The petition read, in part:

Many approaches have been used through the ages in the attempted subjugation of masses of people. One of the very essential facets of the attempted subjugation of the black man in America has been an effort to stifle, obstruct and ultimately destroy black creative genius; and thus, rob the black man of a vital source of pride and liberating strength. In the musical world, for many years a pattern of suppression has been thoroughly inculcated into most Americans. Today many are seemingly unaware that their actions serve in this suppression – others are of course more intentionally guilty. In any event, most Americans for generations have had their eyes, ears and minds closed to what the black artist has to say.

Obviously only utilization of the mass media has enabled white society to establish the present state of bigotry and whitewash. The media have been so thoroughly effective in obstructing the exposure of true black genius that many black people are not even remotely familiar with or interested in the creative giants within black society.

[…]

Action to end this injustice should have begun long ago. For years only imitators and those would sell their souls have been able to attain and sustain prominence on the mass media. Partially through the utilization of an outlandish myth, that in artistic and entertainment fields bigotry largely no longer exists, and by showrooming those few blacks who have sold out, the media have so far escaped the types of response that such suppression and injustice should and now will evoke.

The Jazz and People’s Movement took action. Demonstrators disrupted tapings of The Tonight Show with Johnny Carson, The Dick Cavett Show and The Merv Griffin Show. On signal, group members played noisemakers and instruments that they had smuggled into the studios. They also passed out leaflets and displayed placards.

#TBT - Jazz and People's Movement Protest - August 1970

Also in the ‘70s, trumpeter, arranger and all-around musical genius Quincy Jones was on the board of the Institute of Black American Music whose mission was similar to Jazz and People’s Movement.

Billboard - IBAM - Nov. 6, 1971

Fast forward to today, the multi-Grammy winning Jones is taking a journey into jazz and beyond with Qwest TV, the world’s first subscription video-on-demand platform dedicated to jazz from bebop to hip-hop.

Qwest TV

In a statement, Jones said:

The dream of Qwest TV is to let jazz and music lovers everywhere experience these incredibly rich and diverse musical traditions in a whole new way.

At my core, I am a bebopper, and over the course of my seventy-year career in music I have witnessed firsthand the power of jazz – and all of its off-spring from the blues and R&B to pop, rock and hip-hop, to tear down walls and bring the world together. I believe that a hundred years from now, when people look back at the 20th century, they will view Bird, Miles and Dizzy, as our Mozart, Bach, Chopin and Tchaikovsky, and it is my hope that Qwest TV will serve to carry forth and build on the great legacy that is jazz for many generations to come.

Qwest TV co-founder Reza Ackbaraly added:

By bringing Qwest TV to the general public and to universities everywhere, we seek to promote the values inherent to jazz: hard work, diversity, openness towards others, mutual respect and consideration, cooperation, and improvisation. Jazz touches people across all national, social and cultural boundaries. Qwest TV is of course about extending that reach, but it is also about bringing exciting music from around the world back to jazz and music lovers who have yet to discover it. Quincy and I plan to build a community where the love goes both ways.

The streaming service will launch in fall 2017. For more info, visit Qwest TV.

2nd Annual Jazz Legacy Awards

On Monday, July 24, 2017, the jazz community, spearheaded by state Sen. Vincent Hughes and Sheryl Lee Ralph-Hughes, will celebrate seven pioneers in the world of arts and culture:

  • Marshall Allen, Sun Ra Arkestra
  • Joan Myers Brown, PHILADANCO
  • Abiodun Oyewole, The Last Poets
  • Odean Pope, Saxophonist
  • Mickey Roker (posthumously), Drummer
  • Sumi Tonooka, Pianist
  • Tony Williams, Saxophonist

2nd Jazz Legacy Award

The event is free but you must RSVP by contacting Tamica Tanksley via email or by phone at (215) 879-7777.

A Room with a View of the Blues

Earlier this month, I attended a panel discussion on “Art in Public Space” held in the Hamilton Garden of the Kimmel Center. As I waited for the program to start, I checked out the view from the top floor. What I saw left a hole in my heart.

PRI Vacant Lot

The hole is where Philadelphia International Records once stood.

AveArtsDemo1

Kenny Gamble and Leon Huff have earned their place in history.

Kenny Gamble - Leon Huff - History

Sadly, the building that held the stories of the songwriters, musicians, producers and arrangers is now lost to history. For the love of money, African Americans’ cultural heritage was erased from public memory.

Gamble and Huff sold the historic building to Dranoff Properties which plans to build a luxury hotel and condos for the one percent. Three years after the demolition of “309,” there’s just a hole in the ground. The reason: Dranoff Properties is waiting for a corporate welfare check to the tune of $19 million before breaking ground on the “biggest, tallest and most expensive” project the company has ever done.

In the poorest big city in the country, spending taxpayers’ money to further enrich the rich is the sound of Philadelphia.

Preservation Month 2017

May is Preservation Month, a time to celebrate places that matter to you. On May 6, I led a Jane’s Walk, “Ridge Avenue Stroll through Philly’s Jazz History.” The first stop was the legendary Blue Note. The Ray Bryant Trio was the Blue Note’s house band. It is interesting to note that Bryant co-wrote the smash hit, “The Madison Time,” which was released in 1959.

The highlight of the stroll was 2125 Ridge Avenue, the former location of the Checker Café, a “black and tan” (read: racially integrated) jazz club. The nightclub’s motto was “Good Food. Good Cooks. Good Service.” One of the servers was a teenage singing waitress named Pearl Bailey.

Checker Cafe - This Place Matters Collage

Since October 2016, I’ve been locked in battle with the Philadelphia Housing Authority which wants to demolish the building that has been a visual anchor for more than 100 years. The Pennsylvania Historical and Museum Commission agreed with me the building is of historical significance. Last week, PHA signed a programmatic agreement that saves the building for now. Under the agreement, PHA must stabilize the building.

I say for now because PHA has made it clear it wants to demolish the building. I guess it doesn’t fit their “vision” for a revitalized Ridge Avenue. In an area full of vacant lots, PHA wants to replace a building that is eligible for listing in the National Register of Historic Places with yet another vacant lot.

I encouraged the 40+ people who participated in my Jane’s Walk to make some noise and tell decision-makers that this place matters. If you care about preserving Philadelphia’s cultural heritage, DM me on Twitter or send message to phillyjazzapp[@]gmail.com.

Ridge Avenue Stroll through Philly’s Jazz History

On Saturday, May 6, from 11am to 12pm, All That Philly Jazz Director Faye Anderson will lead a Jane’s Walk, “Ridge Avenue Stroll through Philly’s Jazz History.”

Ridge Avenue Stroll Cover

In the wake of the Great Migration, the demographics of North Philadelphia’s Sharswood neighborhood changed. The new residents fueled the growth of commercial establishments along Ridge Avenue that catered to African Americans. From the Blue Note (15th Street) to the Crossroads Bar (23rd Street), Ridge Avenue was a jazz corridor and entertainment district.

Ridge Avenue Entertainment District - Satellite

Ridge Avenue was also a safe haven from the indignities of racial discrimination. African American entertainers performed in Center City at places such as the Earle Theater and Ciro’s, but they were not allowed to stay in downtown hotels. The Negro Motorist Green Book helped black travelers navigate Jim Crow or de jure (legalized) segregation in the South and de facto (in practice) segregation in the North. Published from 1936 to 1967, the “Green Book” listed hotels, restaurants, night clubs, beauty parlors and other services that enabled African Americans to “vacation without aggravation.”

Green Book - NMAAHC

Our stroll will begin at the legendary Blue Note. We’ll walk around the corner and stop at the Nite Cap.

Blue Note - Nite Cap Collage - 5.5.17

We’ll then head north up Ridge Avenue, stopping at the Bird Cage Lounge and Don-El Records.

Don-El Records - 2020 Ridge Avenue

Moving along, we’ll check out the Hotel LaSalle which was listed in the “Green Book” and advertised in the NAACP’s Crisis magazine.

Hotel LasSalle Collage - 4.30.17

We’ll then stop by V-Tone Records, the LaSalle Beauty Parlor and Butler’s Paradise Café (listed in the “Green Book”).

Next stops: Ridge Cotton Club (listed in the “Green Book”) and the Pearl Theatre.

Ridge Cotton Club - Overlay

The highlight of the walk will be the Checker Café, the last vestige of the Ridge Avenue entertainment district.

2125 Ridge Avenue - 2007

We’ll end our stroll at Mr. Chip’s Bar and Irene’s Café (listed in the “Green Book”).

Mr. Chip's Bar - Irene's Cafe Collage

Rain or shine, we will walk the streets where future jazz legends such as Pearl Bailey, Clifford Brown, Cab Calloway, John Coltrane, Miles Davis, Duke Ellington, Dizzy Gillespie, Philly Joe Jones, Charlie Parker and Nancy Wilson once roamed. For more information, visit Jane’s Walk.