I’m going to Chicago for PastForward 2017. I am a two-time recipient of a diversity scholarship to attend the National Trust for Historic Preservation’s annual conference. But as I wrote for the Preservation Leadership Forum blog, I am an accidental preservationist:
I love old buildings. I love even more the stories that old buildings hold—they are places where history happened. To borrow a phrase from blues singer Little Milton, “if walls could talk” they would tell stories of faith, determination and triumph. For me, historic preservation is about staking African Americans’ claim to the American story.
One of my first stops will be State and Washington streets to check out the 10-story mural of Muddy Waters.
I’ll also check out the former home of the blues icon. Sadly, the 125-year-old building is under threat of demolition.
Discussions on reUrbanism, preservation and health, and technology will be live streamed. You can sign up as a virtual attendee for free. You can also follow the conversation on Twitter using the hashtag #PastForward17.
I’m going to Chicago, y’all.
While in the Windy City, I will use the CTA to get around. NEA Jazz Master and Philly naive Jimmy Heath composed “CTA.” Miles Davis said it was named after Heath’s then-girlfriend Connie Theresa Ann.
The Queen Mary Room was located in the Rittenhouse Hotel.
In the spring of 1957, agent Jerry Field signed Nina Simone to perform here for $100 a week, later increased to $175. Circa December 1957, the legend-in-the-making recorded her debut album with Bethlehem Records, “Little Girl Blue.” The album tracks include “My Baby Just Cares for Me.”
We’ll be back after Labor Day.
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.
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.
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.
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:
The event is free but you must RSVP by contacting Tamica Tanksley via email or by phone at (215) 879-7777.
The Congo Café was located on Ridge Avenue in an old bank building (Northwestern Trust Company?). In a December 6, 1959 conversation with celebrated jazz journalist Ralph J. Gleason, Philly Joe Jones shared memories of the jazz spot:
In 1945 I came home, I was just out of the service and I wanted to play and I knew about the drums, I actually knew about the drums in 1939, an old fellow in Philadelphia who’s still there playin’, he’s playin’ every night, named Coatsville [James “Coatsville” Harris], and he used to help me, he used to teach me how to play the drums. I used to sit underneath the bandstand in the club because I was too young to be there. I wasn’t supposed to be there but he’d sneak me in and I’d be underneath the bandstand. It was an ex-bank and they made a nightclub out of it and they had a floor show and I used to watch the dancers and the chorus and three, four girls in the line and this drummer. I just idolized him and he’s still one of the swingingest older cats I’ve met, and I wanted to play so that he used to help me.
In the 1950s, Coatsville led an orchestra that featured a tenor saxophonist thought to be John Coltrane.
Conversations in Jazz: The Ralph J. Gleason Interviews is available on Amazon.com.
The Lennox Grill was located in North Philly across from drummer Philly Joe Jones’ childhood home on N. 19th Street between Columbia Avenue (now Cecil B. Moore Avenue) and W. Montgomery Street. In a December 6, 1959 conversation with celebrated jazz journalist Ralph J. Gleason, Philly Joe shared memories of the Lennox Grill:
I lived across the street from a place called the Lennox Grill in Philadelphia and I used to peek through the windows in the back of the club, and they had bars on the windows, so I used to always stand there and peek and look at this drummer. This man used to kill me, he had a pipe in his mouth and a regular old setup of drums, you know, no high hat, nothing like that, just a bass drum and a little cymbal. Cymbals were small then, but he was swinging like I don’t know what and I used to like to go there. My brother used to come around the corner and look up and see me peeking in the window and say, “Come on now!” and I’d go home—I only lived across the street. I used to sneak out of the house sometimes at night because they’d be playin’ after my bedtime, I had to go to school, but I used to sneak out of the house and run across the street, 10:30 and 11 o’clock at night I used to sneak out of the house and run across the street and peek in that window and listen to him playin’ drums.
Conversations in Jazz: The Ralph J. Gleason Interviews is available on Amazon.com.