Sam and Harry Kessler opened Parisian Tailors & Clothiers on South Street, the-then heart of the Black community, in 1923. Better known as Parisian Tailors, the company made uniforms – sports jackets and slacks – for Black orchestras. Chief cutter Eddie Lieberman promoted musical acts on the side. Business was booming so as a way to give back to the Black community, Lieberman proposed a children’s radio show to compete with predominantly white The Horn and Hardart Children’s Hour.
The weekly radio show, Parisian Tailors Colored Kiddies of the Air, was broadcast from the stage of the Lincoln Theater. Colored Kiddies of the Air debuted on Sunday, March 27, 1932 on WPEN. The live broadcasts featured young Black musicians backed by all-star big bands.
Regular child performers included future jazz legends and National Endowment for the Arts Jazz Masters Percy Heath Jr. (bassist) and Joe Wilder (trumpeter).
Wilder went on to become the first African American to play a principal chair in a Broadway pit orchestra. He also integrated broadcast radio and television network orchestras.
In Softly, With Feeling: Joe Wilder and the Breaking of Barriers in American Music, biographer Edgar Berger wrote:
The Colored Kiddies radio show emanated from the stage of the Lincoln Theatre, on Broad and Lombard Streets, Philadelphia’s main venue for leading black performers. Duke Ellington, Jimmie Lunceford, Louis Armstrong, Fletcher Henderson, and Fats Waller were just some of regular headliners at the Lincoln in the mid-1930s. What was most extraordinary about the radio show is that the children were backed by members of these legendary orchestras. Because of Pennsylvania’s blue laws, there could be no regular performances in clubs or theaters on Sunday. As Joe put it, “We could go out and shoot each other on Sunday, but we weren’t allowed to play jazz!” So as part of their contracts with the theater, the visiting bands were obligated to play behind the youngsters during the one-hour broadcasts on Sunday mornings. “We had the joy of having every name band—Duke Ellington, Cab Calloway, Fletcher Henderson, Earl Hines, Count Basie, the Mills Blue Rhythm Band— play for us on their day off,” Joe said. “They would improvise backgrounds for whatever we played, and they encouraged us. It was unbelievable!” Although the bandleaders themselves didn’t usually play, they did come to the rehearsals to make sure that their musicians fulfilled the terms of their contracts.