March is Women in Jazz Month, a time to celebrate the contributions of women to jazz. Few – male or female – have contributed more to the jazz canon than Billie Holiday. In the decades since her death, Lady Day has been celebrated in film, song, books, fashion and art.
ClickitTicket, a resale marketplace, has created a timeline of Billie Holiday’s life, beginning with her birth in Philadelphia in 1915 and ending with her death in a New York City hospital in 1959.
An excerpt:
Billie Holiday’s voice was a little thin and somewhat limited. She had no technical training; she couldn’t even read sheet music.
Yet, Holiday is one of the greatest vocalists of all-time.
What she lacked in power and tone, she made up for it with the ability to tell a story and emote. Every song she sang she made her own.
Holiday was a true artist who had a profound impact on both jazz and pop music.
She made a huge impact on countless artists including Frank Sinatra.
“Lady Day is unquestionably the most important influence on American popular singing in the last twenty years,” explained Ol’ Blue Eyes to Ebony magazine in 1958.
Despite personal demons, abusive romantic relationships, and the specter of racism, Holiday achieved commercial and artistic success during her lifetime.
Since her death in the late 1950s, generations of musicians have turned to her recordings for inspiration and enlightenment.
March is Women in Jazz Month, a time to celebrate the contributions of women to jazz.
As a lifelong activist, I want to celebrate the role that women in jazz played in paving the way for the Civil Rights Movement. While Billie Holiday’s “Strange Fruit” is well-documented, Ethel Waters’ “Supper Time” is not well-known. Written by Irving Berlin especially for Waters, the song is about a wife’s grief over the lynching of her husband.
The Sweethearts were popular in the 1940s. Indeed, they were one of the top swing bands, appearing on radio broadcasts, and touring the U.S. and Europe.
The legendary Showboat was located in the basement of the Douglass Hotel, a favorite hangout of jazz musicians and their fans.
The historical marker out front notes that Billie Holiday “often lived here.”
In 1964, Herb Spivak bought the basement taproom and renamed it the “Showboat Jazz Theatr” (purposely leaving the “e” out). Spivak increased the seating capacity from 100 to 200. The small bandstand was behind the bar. The Showboat played host to jazz greats such as Miles Davis, Dizzy Gillespie, Art Blakey, Cannonball Adderly, Bootsie Barnes, Philly Joe Jones, Thelonius Monk, Dinah Washington and Ramsey Lewis.
On June 17, 1963, John Coltrane recorded “Live at the Showboat” featuring Coltrane (sax) McCoy Tyner (piano), Jimmy Garrison (bass) and Elvin Jones (drums).
I had a visceral response to news that City Councilman Mark Squilla introduced a bill that would impose new rules for a “special assembly occupancy” license. Among other things, applications for an SAO license must be approved by the Philadelphia Police Department. Promoters and venue operators would be required to provide the police department with the “full name, address and phone number of all performance acts scheduled to perform during the promoted event or special event.”
There is concern the bill is racially motivated, i.e., it’s targeting venues that promote hip-hop artists. Capt. Francis Healy, the PPD’s legal adviser, told the Philadelphia Inquirer Squilla’s bill has “nothing to do with race,” adding:
I could see where it could be [interpreted as such].
The police department has a sordid history with black musicians. During Philly’s jazz heyday, clubs were under police surveillance. Jazz venues would be raided because black and white patrons were fraternizing. In a piece for Hidden City Philadelphia, Jack McCarthy shared a news report from 1949:
A preholiday raid by… detectives… once again smacks of racial prejudice on part of the law enforcers… [The] Downbeat is the favorite hangout for the be-bop fans and is the only downtown spot which never has discriminated against Negro patronage. In fact, crowds here have been interracial in character, attracting everybody from the intelligentsia to the rabid be-bop fan.
Nat Segall, former owner of the Downbeat who originally established the room, gave it up a year ago rather than give in to certain political powers who urged he adopt a segregation policy for the room. When he refused to give in, Segall, a former musician now in the booking business, was pestered by police raids and finally sold out.
Charges of underage drinkers at the Downbeat, basis for the raid, is a weak one when you see the patronage of purity-white places… you’ll find teenagers any night of the week in practically every night club in town.
Police harassment put the legendary club out of business. Philadelphia police and federal narcotics agents hounded Billie Holiday. Indeed, Lady Day was the first casualty of the War on Drugs.
On Nov. 17, 1955, Ray Charles and his entire band were arrested on drug charges. Although the charges were later dropped, Brother Ray vowed to never again perform in Philadelphia.
Sixty years later, there are echoes of Ray Charles’s concern about the climate for musicians. As currently written, the police department would maintain a registry of performers. Musicians are posting on social media that if Squilla’s bill passes, they will skip Philly.
Heard enough? Then take note and join the protest against Bill No. 160016 at City Hall on Thursday, Feb. 4 at 9 a.m. For more information, visit March for Musicians Against Bill #160016 on Facebook.
On Saturday at the Merriam Theater, bassist Christian McBride performed like it was 1969. McBride’s “The Movement, Revisited” is centered around the words of four Civil Rights icons, Rev. Martin Luther King Jr., Malcolm X, Rosa Parks and Muhammad Ali.
McBride and his 18-piece band were joined by the Philadelphia Heritage Chorale, and four narrators – Rev. Alyn Waller as Rev. Martin Luther King Jr., Dion Graham as Muhammad Ali, Samuel Stricklen as Malcolm X, and Sonia Sanchez as Rosa Parks.
McBride shared that he grew up reading Jet and Ebony which gave him a history lesson in the black experience. The four icons stood out for him. “The Movement, Revisited” stems from a commission by the Portland Arts Society to compose a piece for Black History Month:
The genesis for this project began in 1998 when McBride was commissioned by the Portland (ME) Arts Society to compose THE MOVEMENT, Revisited, a two-part composition for small instrumental group and gospel ensemble. This year, McBride envisioned a project of wider scope on the same theme and it has grown into a full-scale, 90-minute production.
The narrators brought to life the personality and passion of their character. I particularly enjoyed McBride’s exuberant “Rumble in the Jungle.” The choir evoked the spirit of the Freedom Singers with “I’m So Tired” and “Freedom, Struggle.”
I don’t want to predict anything, but the magnitude of the piece – why it was written, what it was about – I can’t imagine I’ll ever write something as monumental on this scale again. I do get overwhelmed playing it, and every time I do, it feels new. Sometimes, I play this piece and still go, “Wow, did I really write this?”
If the standing ovation is any indication, the audience was wowed by the piece.
McBride’s message music harkens back to earlier generations of jazz greats who were inspired by the struggle for racial justice. In 1929, Louis Armstrong asked, “(What Did I Do to Be So) Black and Blue.” Composed by Fats Waller, it is considered the first American popular song of racial protest.
Billie Holiday told the world about the horrors of lynching.
Both Armstrong and Holiday are featured in an exhibition at the Library of Congress, “The Civil Rights Act of 1964: A Long Struggle for Freedom.” The multimedia exhibition explores the events that shaped the Civil Rights Movement. It includes manuscripts like Dr. Billy Taylor’s “I Wish I Knew How It Would Feel to Be Free,” composed in 1954 and popularized by Nina Simone in the 1960s.
In 1959, bassist Charles Mingus composed “Fables of Faubus,” a satirical protest against Arkansas governor Orval Faubus who had deployed the Arkansas National Guard to Little Rock Central High School to prevent nine African American students from entering the segregated school.
Jazz has an element of freedom. It is that freedom that allowed jazz musicians to use their platform to sound a message of defiance and resistance. From John Coltrane’s “Alabama” to Max Roach’s “We Insist! Freedom Now Suite,” jazz was a soundtrack to the Civil Rights Movement.
Located across from Philadelphia International Records, the Fantasy Lounge was a popular hangout for PIR studio musicians, and the rich and famous, including Diana Ross who had .
On Oct. 26, 2015, Billie Holiday’s Walk of Fame plaque was unveiled. It’s located in front of the Kimmel Center, which is in the footprint of the Fantasy Lounge. While at the unveiling, I confirmed the location of the club with legendary DJ Jerry Blavat.
From a 1999 news story reporting on the death of Lauretta Tucker Adams, the owner of the Fantasy Lounge:
Among the most famous of her businesses was the Fantasy Lounge, a supper club at Broad and Spruce Streets in Philadelphia, where just about anyone could mingle with famous musicians, politicians and professional athletes. It was the spot where fabulous theater parties were tossed by performing casts, and Diana Ross boogied until the wee hours at a birthday party in her honor, according to a 1985 Daily News story lamenting the lounge’s closing to make room for expansion of the Philadelphia College of Art.
Walk of Fame inductee Kenny Gamble recounted:
She was a role model and mentor to many of us. She promoted us everywhere. She did things because she really cared. She didn’t care about material things, and she would help anybody who really needed help with no strings attached . . . and she was very smart in business.
