Tag Archives: #BlackCultureMatters

Grendel’s Lair

Grendel’s Lair was a popular South Philly cabaret theater.

grendels-lair-cropped

Jazz musicians were showcased weekly.

Grendel’s Lair - Dizzy Gillespie

Regina DeAngelo shared her story:

It was around 1987. I was 22. I brought my mom with me to see Dizzy Gillespie at Grendel’s Lair. As Dizzy warmed up on stage, he looked out at the audience. “A lot of young people,” he said. “I don’t see any old people like me.” My mom lifted her bourbon into the air and shouted “I’m old!”

After the show, we waited at 4th and South for my father to come and pick us up. He must have been late because we were still waiting when Dizzy and the band came out. They crossed the street to a busted old white station wagon. They opened the doors, sat sideways facing the street, and had some fun blowing off bottle rockets.

Regina is a technical writer with Keeley DeAngelo LLP.

Women in Jazz Month

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.


I also want to celebrate the pioneering women of the International Sweethearts of Rhythm, the first racially-integrated all-female big band. The 17-piece band was led by vocalist Anna Mae Winburn.

international-sweethearts-of-rhythm-e1425870519326

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 group disbanded in 1949.

Dunbar/Lincoln Theater

African American bankers E. C. Brown and Andrew Stevens opened the Dunbar Theater in 1919, with plans to offer refined entertainment. However, within two years, business floundered and Brown and Stevens sold the theater to John T. Gibson, the black owner of the more raucous Standard Theater on South Street.

Later during the Depression, Gibson was forced to sell the theater to white owners who renamed it the Lincoln Theater.

Dunbar Theatre - Lombard Street Sign

From the 1920s to 1940s, the 1600-seat theater hosted major performers such as Duke Ellington, Louise Beavers, Willie Bryant, Lena Horne, Don Redman, Ethel Waters, Cab Calloway, Paul Robeson and Fats Waller.

Lincoln Theater 1.2

The joint was jumping.

All That Philly Jazz Named One of the Best Jazz Blogs on the Planet

All That Philly Jazz was named one of the top 50 jazz blogs and websites for jazz musicians, teachers and students. We came in at #41. The list includes JazzWax and Jazz at Lincoln Center.

Way to go!

Top 50 Jazz Award - 2.9.17

For more news and mentions, check out ICYMI: All That Philly Jazz in the News.

#APeoplesJourney

The newly opened National Museum of African American History and Culture was 100 years in the making  The dream of black Civil War veterans was fulfilled on September 24, 2016. With the ringing of the First Baptist Church Freedom Bell, President Barack Obama opened the doors to a view of African American history and culture through an African American lens.

I was in DC for the grand opening ceremonies.

I did not visit the Museum because I did not want my first visit to be rushed (I have tickets for October and November). So I spent the weekend reveling in the Freedom Sounds Festival. It was comforting to see the ancestors presiding over the community celebration.

By the way, Ray Charles’ “Lonely Avenue” was remixed into a freedom song, “Fighting for My Rights.”

On my visit to the Museum on October 3rd, my first stop will be the Slavery gallery. If time permits, I’ll check out the Music collection. My plan is to check out one gallery on each visit.

Are you ready to visit? Admission is free, but you need a timed pass. You’ll have to plan ahead because Museum tickets are sold out for the rest of the year. Passes for Museum admission between January and March 2017  will be available online starting Oct. 3 at 9 a.m.

For more info, check out Top 10 Things To Know About Visiting the Museum.

Jazz 100 Celebrates Four Icons

This year marks the centennial birthdays of Ella Fitzgerald, Mongo Santamaría, Thelonious Monk and Dizzy Gillespie. The jazz visionaries will be celebrated on Friday, September 30 at 8:00 p.m. at the Merriam Theater.

jazz100

Anne Ewers, President & CEO of the Kimmel Center for the Performing Art, said in a statement:

Philadelphia is a revered jazz city and this presentation gives us a one-of-a-kind opportunity to celebrate the music of four jazz icons in their centennial year. Touting artists from around the world, Jazz 100 will showcase the unifying fibers of this genre.

Over the course of their careers, the jazz legends performed in clubs and venues in Philadelphia.

Jazz 100 Collage

Dizzy’s Philly roots are deep. Born in South Carolina, his family was part of the Great Migration. For a time, he lived at 637 Pine Street. He was a member of the house band at the Earle Theater. After a tiff with management, Dizzy became a regular at the Downbeat Club, which was located within shouting distance of the Earle Theater.

Downbeat Club Collage

Dizzy was a founding member of Union Local 274. The black musicians union was located at 912 S. Broad Street.

An iconic television commercial is one of my earliest memories of “The First Lady of Song.”

One of my most memorable experiences was attending Thelonious Monk’s funeral in 1982 at Saint Peter’s Church in New York City. Musicians paid loving tribute to Monk with version-after-version of “Round Midnight.”

Jazz 100 brings together an all-star ensemble of musicians, including Lizz Wright (vocals), Avishai Cohen (trumpet), Wycliffe Gordon (trombone, vocals) and Chris Potter (saxophone, woodwinds).

Jazz100 Musicians

The tribute concert “showcases the individual artistry of each icon and the powerful unifying threads between them.” Tickets can be purchased at the Kimmel Center Box Office or online at kimmelcenter.org (save over $45 with promo code “Dizzy”).

Café Society

Located on the Golden Strip, the Café Society was listed in The Negro Motorist Green Book.

In Whisper Not: The Autobiography of Benny Golson, the NEA Jazz Master recounted:

I used to dream of playing with Philly Joe. He played with all my recorded heroes when they came to town: Coleman Hawkins, Ben Webster, Roy Eldridge, Charlie Parker, Dizzy Gillespie, and Eddie Heywood. I came home from my first year in college, in 1948, and “Bass” Ashford, a mainstay on the local scene, asked me to join his quartet for the entire summer season at Café Society, at 13th Street and Columbia Avenue. Café Society was a very popular jazz spot in North Philly, not far from where I lived and only three blocks from John Coltrane’s house. John often popped in while the group played there. I showed up for the first rehearsal to find that Philly Joe would be our percussionist! I almost fainted. I acted as if nothing were unusual, but I was flying.

Cafe Society - Philly Joe Jones - Benny Golson - Caption

Published by Temple University Press, Golson’s autobiography is available for purchase here.

St. Peter Claver, Gentrification and Black History

First it was #PopeInPhilly. Now this: The Archdiocese of Philadelphia plans to put the oldest church for black Catholics on the auction block. St. Peter Claver Union was named after the “Apostle of the Slave Trade,” a 16th century Spanish Jesuit priest who fought against the slave trade.

St. Peter Claver Church Historical Marker

St. Peter Claver was an anchor in the community. Future blues legend Ethel Waters recounts in her autobiography, His Eye is on the Sparrow, that at age six, she was gravely ill with typhoid fever and double pneumonia. Her grandmother sent for Fr. Healey who baptized and anointed her.

In 1942, St. Peter Claver’s Catholic Church, Fifty Golden Years, a self-published history, was released:

It was also toward the end of the 19th century that a sizable population of blacks developed their own Catholic congregation in Philadelphia. Prior to 1886, black Catholics had worshiped in the parishes of St. Joseph, St. Mary, and St. Augustine in the city. In 1886, Holy Trinity Church, a traditionally German Catholic Church at 6th and Spruce, began holding a mass for blacks. The pastor of Holy Trinity, Father Hilterman, encouraged his black congregants to form their own union, which adopted the name St. Peter Claver Union, after the native of Catalonia, Spain, whose efforts in behalf of emancipation earned him the title, “Apostle of the Slave Trade.”

In July 29, 1889, Rev. Patrick McDermott, arrived in Philadelphia to take charge of the burgeoning black Catholic congregation at the request of Mother Katherine Drexel, founder of the Sisters of the Blessed Sacrament, after she visited Holy Ghost College (now Duquesne University) in Pittsburgh, PA. McDermott’s congregation began assembling in a small chapel in the second story of a home at 832 Pine Street in 1889, but it soon became too crowded, and the group began to look for a large church home.

When in 1890, the Fourth Presbyterian Church of Philadelphia offered its building at 12th and Lombard for sale, the congregation began to pool its resources to purchase it. When Patrick Quinn, treasurer of the Beneficial Savings Fund Society, one of Philadelphia’s largest banks at the time, died the same year, his will stipulated that $5,000 of his fortune was to go to the “proposed Colored Catholic Church of Philadelphia.” With donations from other well-to-do Philadelphians and loan from a bank, the congregation managed to assemble the funds to purchase Fourth Presbyterian Church at 12th and Lombard, which was dedicated as St. Peter Claver’s Church, Philadelphia’s first black Catholic church, on January 3, 1892.

Fast forward to today. The Archdiocese is in Orphans’ Court petitioning for the removal of racial language in the deeds that would rewrite history.

Arlene Edmonds, community historian and author of the African American Catholic Youth Bible, told Sabrina Vourvoulias of Philadelphia Magazine:

I feel a special connection because I’ve always been interested in historical sites, particularly the Underground Railroad and the sites that were built from by those enslaved Africans who creatively masterminded their escapes. Setting foot in St. Peter Claver one can feel it is part of that lineage. As a Catholic, so many of the earliest African connections to the faith have been overpowered by Western traditions after the faith was embraced by Europeans. Most American Catholic churches are centered around a Eurocentric interpretation of the faith.

Then you have a St. Peter Claver Church that was donated to the Black community for the purpose of evangelizing to African Americans. They lived in Philadelphia during the antebellum era, were among those who escaped along the Underground Railroad, or who migrated here later from the south as well as the Caribbean and Latin America. This was their church before there was an Archdiocese of Philadelphia [emphasis added]. It housed their history in photographs and artifacts. To have that taken from us is very sad. That is why many feel as I do, that others are trying to erase our history even those who say they share our faith.

I don’t share Edmonds’ faith, but I share her concern that gentrification is erasing African American history. Rev. Mark Kelly Tyler, pastor of Mother Bethel AME Church, is host of “Urban Insight” on 900amWURD. In an interview with Edmonds, Rev. Tyler observed:

St. Peter Claver is sandwiched between Big Wesley and Mother Bethel. The neighborhood is awash with great history of founding events in the black community. It’s an American story. We must help the Archdiocese find a different way to deal with this property.

Given the givens, I put my faith in Orphans’ Court. So I filed an objection to the Archdiocese’s Petition for Cy Pres.