Voting is underway for the annual DownBeat Readers Poll.
The categories include:
- Hall of Fame
- Jazz Artist
- Jazz Group
- Big Band
- Jazz Album
- Historical Album
- Soprano Saxophone
- Alto Saxophone
- Tenor Saxophone
- Baritone Saxophone
- Electric Bass
- Female Vocalist
- Male Vocalist
- Blues Artist or Group
- Blues Album
Click here to vote.
In jazz’s heyday, there were clubs named the Blue Note across the country. Philadelphia had three such clubs, the most famous of which was located at 1502 Ridge Avenue where the Miles Davis Quintet, featuring John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums), performed on December 8, 1956.
But there’s only one Blue Note record label that was home to such greats as Miles Davis, John Coltrane, Lee Morgan, Herbie Hancock, Thelonious Monk, Art Blakey, Horace Silver, Dexter Gordon and Sonny Rollins.
A new documentary, “It Must Schwing! The Blue Note Story,” retells the journey of Alfred Lion and Francis Wolff, two German Jewish immigrants who fled Nazi Germany and founded Blue Note Records in 1939.
Fittingly, the film premiered at the Munich Film Festival on July 2.
For more information, go to https://itmustschwing.com/en.
Jazz musicians were about intersectionality before the term was coined. During 2018 Jazz Appreciation Month, I moderated a conversation on art, jazz and activism, curated by Black Quantum Futurism and Icebox Project Space.
The panel discussion and community forum featured artists/activists Josh Graupera, Stormy Kelsey, Michael O’Bryan and Tieshka K. Smith. The audio is now available on Artblog Radio.
Trumpeter Clifford Brown was 25 when he died in a car crash in 1956. His last performance was at Philadelphia’s famed Music City.
Although his life was cut short, Brown left an indelible impact. There are 334 versions of Philly native and NEA Jazz Master Benny Golson’s composition, “I Remember Clifford.”
Since 1988, his hometown of Wilmington, Delaware, has held the Clifford Brown Jazz Festival. It’s the largest free jazz festival on the East Coast. This year’s lineup includes Marcus Miller, Brian McKnight and Arturo Sandoval.
From 1953 to 1956, comedian and television pioneer Soupy Sales hosted a late-night television show in Detroit, “Soupy’s On.”
A jazz head, Soupy’s guests included jazz giants like Charlie Parker, Dizzy Gillespie, Billie Holiday, Lester Young, Gerry Mulligan, Ella Fitzgerald, Louis Armstrong, Duke Ellington, Thelonious Monk and Miles Davis. The only extant footage of Clifford Brown is from his 1956 appearance on the show.
For info about the DuPont Clifford Brown Jazz Festival, click here.
Black Music Month was first observed on June 7, 1979 at the White House.
As B.B. King observed, African Americans first got the blues when “they brought [us] over on a ship.”
Enslaved Africans used the message in the music to plan their escape.
Music helped runaways navigate the pathway to freedom.
On their quest for freedom, some of our enslaved ancestors found sanctuary in Abolition Hall and the surrounding fields. A developer’s plan to develop the fields struck a discordant note with Sydelle Zove, convener of Friends of Abolition Hall, and Avenging The Ancestors Coalition. ATAC Founder Michael Coard recently wrote:
Abolition Hall was built in 1856 by George Corson, a Quaker abolitionist. It, its adjacent family home, and purportedly its adjacent fields were where Black men, women, and children took shelter in courageous attempts to flee slavery. Zove says the developer proposes to “subdivide and reconfigure” this historic homestead to construct 67 townhouses on the open fields directly next to the hall. Once divided, notes Zove, the developer plans to sell the hall, the stone barn, and the Thomas Hovenden House – all listed on the aforementioned National Register. She continues by pointing out that it’s not just the hall that’s in jeopardy but also the “fields where cornstalks hid fugitives”—fields she describes as an “integral part of the site.”
The developer’s proposal would box in the national historic landmark. So Friends of Abolition Hall and ATAC are asking concerned citizens to raise their voices and tell Whitemarsh Township: Abolition Hall deserves better. The Board of Supervisors will meet on Thursday, June 14, 2018, at 7pm, 616 Germantown Avenue in Lafayette Hill. If you need a ride, holler.
In 1979, President Jimmy Carter decreed that June would be Black Music Month. Each president since then has signed a proclamation recognizing the contributions of African American musicians and music. In 2009, President Barack Obama rebranded the annual celebration as “African-American Music Appreciation Month”
The legacy of African-American composers, singers, songwriters, and musicians is an indelible piece of our Nation’s culture. Generations of African Americans have carried forward the musical traditions of their forebears, blending old styles with innovative rhythms and sounds. They have enriched American music and captured the diversity of our Nation. During African-American Music Appreciation Month, we honor this rich heritage.
There’s no better place to get the celebration started than at the mecca of African American culture, the world famous Apollo Theater.
The first Decoration Day, as the commemoration of the nation’s war dead was originally called, was observed on May 1, 1865. The African American origin of the holiday was suppressed by white Southerners. David W. Blight, a professor of history and the director of the Gilder Lehrman Center for the Study of Slavery, Resistance and Abolition at Yale University, discovered the hidden history while digging through the archives at Harvard University.
In a 2011 op-ed piece in the New York Times, Dr. Blight wrote:
Whites had largely abandoned the city [Charleston, SC], but thousands of blacks, mostly former slaves, had remained, and they conducted a series of commemorations to declare their sense of the meaning of the war.
The largest of these events, forgotten until I had some extraordinary luck in an archive at Harvard, took place on May 1, 1865. During the final year of the war, the Confederates had converted the city’s Washington Race Course and Jockey Club into an outdoor prison. Union captives were kept in horrible conditions in the interior of the track; at least 257 died of disease and were hastily buried in a mass grave behind the grandstand.
After the Confederate evacuation of Charleston black workmen went to the site, reburied the Union dead properly, and built a high fence around the cemetery. They whitewashed the fence and built an archway over an entrance on which they inscribed the words, “Martyrs of the Race Course.”
The symbolic power of this Low Country planter aristocracy’s bastion was not lost on the freed people, who then, in cooperation with white missionaries and teachers, staged a parade of 10,000 on the track. A New York Tribune correspondent witnessed the event, describing “a procession of friends and mourners as South Carolina and the United States never saw before.”
The procession was led by 3,000 black schoolchildren carrying armloads of roses and singing the Union marching song “John Brown’s Body.” Several hundred black women followed with baskets of flowers, wreaths and crosses. Then came black men marching in cadence, followed by contingents of Union infantrymen. Within the cemetery enclosure a black children’s choir sang “We’ll Rally Around the Flag,” the “Star-Spangled Banner” and spirituals before a series of black ministers read from the Bible.