In 1987, Congress passed House Concurrent Resolution 57 designating jazz “a rare and valuable national American treasure.” The resolution recognized jazz as a “unifying force, bridging cultural, religious, ethnic and age differences.” Indeed, jazz played an important role in paving the way for the Civil Rights Movement.
The Downbeat, located at 11th and Ludlow streets in Philadelphia, was the first racially integrated club in Center City. The building is still there.
Café Society Swing, written by Alex Webb, tells the story of the legendary Café Society, the first integrated nightclub in New York City. The jazz spot played host to, among others, Fats Navarro, Dizzy Gillespie, Charlie Parker, Count Basie, Sarah Vaughn, Lena Horne, Sister Rosetta Tharpe, Ida Cox and Big Joe Turner. Philly Joe Jones was the house drummer.
The Café Society is where Billie Holiday first sang “Strange Fruit” in January 1939.
Philly’s Café Society was located on “The Golden Strip.”
Later this year, Netflix will debut an original documentary about Nina Simone, What Happened, Miss Simone? The film was screened at the Sundance Film Festival.
Rolling Stone reports:
Beginning with footage of the singer staring down an audience at the Montreux Jazz Festival in 1976, What Happened goes about answering its question by flipping back to Simone’s childhood, detailing her early musical ambitions to be the first black female classical pianist. Despite her talent and the financial support of well-to-do patrons, she was rejected by the prestigious Curtis Institute in Philadelphia; that “early jolt of racism,” as Simone referred to the incident, became the first of several events to fuel an inexhaustible supply of anger at society. A summer gig at an Atlantic City bar gave birth to the blues chanteuse she’d eventually become, with the film tracing her rise to hit recording artist, jazz sensation, long-suffering wife (her manager/husband Andrew Stroud does not come off well), a major player in the Civil Rights movement, industry pariah, American ex-pat, playing-for-chump-change café performer and, eventually, a rediscovered legend.
The legendary Showboat was located in the basement of the Douglass Hotel. The historical marker out front notes that Billie Holiday “often lived here.”
A while back, I visited what used to be the Showboat with Yasuhiro “Fuji” Fujioka, founder of the Coltrane House of Osaka and co-author of “The John Coltrane Reference”; Lenora Early, founder of the Philadelphia John Coltrane House; and Dr. George E. Allen, author of “I Was Not Asked.”
Until that visit, I assumed the Showboat was in the basement space with the two windows facing Lombard Street. As we descended the stairs, Dr. Allen said something was wrong. Back then, there was no landing between the steps. Instead, the club was down a steep set of stairs. And sure enough, after a bit of snooping, we found what remains of the original steps that led down to the Showboat.
So imagine the likes of Billie Holiday, Miles Davis, Art Blakey, Cannonball Adderley, Bootsie Barnes, Philly Joe Jones, Jimmy Heath, Thelonious Monk, Dinah Washington, Ray Charles and Ramsey Lewis descending those steps to take their place on the small bandstand behind the bar.
There are some years that were so momentous just their mention evokes milestones. Think 1776 and 1964. Or 1965 and “Bloody Sunday,” a retelling of which, “Selma,” is now playing in theaters.
1959 was the year that changed jazz. That year marked the release of Miles Davis’ “Kind of Blue,” John Coltrane’s “Giant Steps,” Ornette Coleman’s “Shape of Jazz to Come” and Dave Brubeck’s “Time Out.”
In remarks to the 1964 Berlin Jazz Festival, Rev. Martin Luther King Jr. spoke about the importance of jazz in paving the way for the Civil Rights Movement.
Rev. Martin Luther King Jr. was born on this day in 1929.
The Jazz Connect Conference, organized by JazzTimes and the Jazz Forward Coalition, was held January 8-9, 2015, in New York City and led into the annual Association of Performing Arts Presenters Conference, as well as Winter Jazzfest. The Jazz Connect Conference featured a series of workshops, panels discussions, and keynote address by Philly-native Christian McBride.
During Philadelphia’s golden age of jazz, there were jazz clubs in every neighborhood. There were so many that folks in North Philly didn’t go to joints in South Philly and vice versa. There were a handful of clubs that reached legendary status and attracted patrons from all over the city. The Blue Note at 15th Street and Ridge Avenue was “the town’s swankiest jazz emporium.”
From 15th Street to Columbia Avenue (later renamed Cecil B. Moore Avenue), Ridge Avenue was a jazz corridor where legends-in-the-making roamed.
Joey DeFrancesco was born in 1971 in Springfield, Pennsylvania. He was born into a musical family that included three generations of jazz musicians. He was named after his grandfather, Joseph DeFrancesco, a jazz musician who played the saxophone and clarinet. His father, “Papa” John DeFrancesco, was an organist who played nationally and received the Oklahoma Jazz Hall of Fame’s Living Legend Award in 2013.
DeFrancesco began playing the organ at the age of 4 and was playing songs by Jimmy Smith verbatim by the time he was 5. His father John began bringing him to gigs from the age of 5, letting him sit in on sets. At the age of 10, DeFrancesco joined a band in Philadelphia that included jazz legends Hank Mobley and Philly Joe Jones. He was considered a fixture at local jazz clubs, opening shows for Wynton Marsalis and B.B. King.
DeFrancesco attended the Philadelphia High School for the Creative and Performing Arts. During his high school years, DeFrancesco won numerous awards, including the Philadelphia Jazz Society McCoy Tyner Scholarship. He was also a finalist in the first Thelonious Monk International Jazz Piano Competition.