For years I could not get pass the optics of Louis Armstrong, mainly the broad grin and ever-present handkerchief. Fast forward to today, my love and respect for Pops’ musical genius and civil rights activism is immeasurable. At the dawn of the modern Civil Rights Movement, Armstrong cancelled a U.S. State Department-sponsored tour of the Soviet Union in support of the Little Rock Nine. Pops blasted Arkansas Gov. Orval Faubus, a staunch segregationist, and President Eisenhower.
As a preservationist, I am in awe of Pops and Lucille Armstrong’s dedication to preserving his legacy in public memory. The Louis Armstrong House Museum, a National Historic Landmark, and the new Louis Armstrong Center provide a blueprint for historic preservation, as well as cultural heritage preservation.
Pops once said, “I don’t get involved in politics. I just blow my horn.” Behind closed tours, he had a lot to say about politics and racism. Decades after his death, the public will hear the full story of Louis Armstrong in the documentary, “Louis Armstrong’s Black & Blues.”
The legendary trumpeter got his flowers while he was alive. Pops is now getting overdue props for his resilience and resistance to white supremacy. “Louis Armstrong’s Black & Blues” premieres October 28 on Apple TV.
“The Jazz Ambassadors” tells the story of when the U.S. State Department asked jazz icons to travel the world as cultural ambassadors during the Cold War. Their mission was at the intersection of race, civil rights and public diplomacy.
The film premieres on May 4, 2018 on PBS. Check your local listings.
During the Jim Crow era, Louis Armstrong asked, “What did I do to be so black and blue?”
In 2018, men in blue uniforms arrested two African Americans whose only sin is in their skin. Their offense – waiting while black at Starbucks.
@Starbucks The police were called because these men hadn’t ordered anything. They were waiting for a friend to show up, who did as they were taken out in handcuffs for doing nothing. All the other white ppl are wondering why it’s never happened to us when we do the same thing. pic.twitter.com/0U4Pzs55Ci
While implicit bias led to the 911 call, Police Commissioner Richard Ross is complicit in the criminalization of black men. In a video posted on Facebook, Ross said:
They did a service that they were called to do. And if you think about it logically, that if a business calls and they say that someone is here that I no longer wish to be in my business, [police officers] now have a legal obligation to carry out their duties.
There is nothing logical about implicit bias.
In an open letter, Starbucks CEO Kevin Johnson said the arrest was “reprehensible”:
By now, you may be aware of a disheartening situation in one of our Philadelphia-area stores this past Thursday, that led to a reprehensible outcome.
I’m writing this evening to convey three things:
First, to once again express our deepest apologies to the two men who were arrested with a goal of doing whatever we can to make things right. Second, to let you know of our plans to investigate the pertinent facts and make any necessary changes to our practices that would help prevent such an occurrence from ever happening again. And third, to reassure you that Starbucks stands firmly against discrimination or racial profiling.
In the coming days, I will be joining our regional vice president, Camille Hymes—who is on the ground in Philadelphia—to speak with partners, customers and community leaders as well as law enforcement. Most importantly, I hope to meet personally with the two men who were arrested to offer a face-to-face apology.
I am heartbroken to see Philadelphia in the headlines for an incident that — at least based on what we know at this point — appears to exemplify what racial discrimination looks like in 2018.
However, Kenney is not “heartbroken” enough to launch an independent investigation of the incident. Instead, the Philadelphia Police Department is investigating itself. A fact noted by the Washington Post:
Kenney said little about the response of his police force beyond mentioning an ongoing review from Police Commissioner Richard Ross.
In his Facebook monologue, Ross said the police department sends all new recruits to the National Museum of African American History and Culture and the United States Holocaust Memorial Museum because “we want them to know about the atrocities that were, in fact, committed by policing around the world.”
The Commissioner encouraged us to “make our own value judgment.” So here’s mine — Negro, please! Did you send new recruits to visit the African American Museum in Philadelphia’s exhibit, “Arresting Patterns: Perspectives on Race, Criminal Justice, Artistic Expression, and Community?” The museum is located one block from police headquarters.
Ross declared his “officers did absolutely nothing wrong” in arresting two black men whose only offense is the color of their skin. But he will not have the last word.
POWER, a coalition of clergy leaders representing more than 50 interfaith congregations in Southeastern and Central Pennsylvania, will hold a march and sit-in on Monday, April 16. Protesters will gather at 3:30pm at The Philadelphia Ethical Society, 1906 Rittenhouse Square. From there, they will march and occupy the Starbucks located at 1801 Spruce Street from 4-6pm.
Commissioner Ross, just so you know, they will not make any purchases. So get your paddy rollers ready.
This year marks the centennial birthday of several jazz luminaries, including Ella Fitzgerald, Dizzy Gillespie, Lena Horne and Thelonious Monk. Philharmonic Laureate Conductor Leonard Bernstein was born on August 25, 1918 but the celebrations are already underway. The worldwide festivities will continue until August 25, 2019.
Bernstein had a longstanding appreciation of jazz, blues and spirituals. His 1939 Harvard University bachelor’s thesis was entitled, “The Absorption of Race Elements into American Music.”
From his earliest years, jazz was an integral part of Bernstein’s life, and it made a crucial impact on his own music.
As a teenager in the 1930s, he put together a jazz band, was famous for his jazz piano playing at parties, and directed a swing band at summer camp. Some of the jazz-inflected music he composed in the mid-1930s at Harvard, and later at Curtis [Institute], provided source material for future works. Perhaps most significantly, his undergraduate thesis was no less than an assertion that jazz is the universal basis of American composition. In New York soon after college, he got to know jazz intimately, by day transcribing for publication the improvisations of legendary players like Coleman Hawkins, and playing piano in jazz clubs at night.
About 15 years ago, I first saw this video of Bernstein conducting Louis Armstrong performing “St. Louis Blues” with the composer, W.C. Handy, in the audience. The images are forever etched in my mind.
On December 2, I will attend the Louis Bernstein Marathon at the CUNY Graduate Center, an eight-hour concert featuring performances of Bernstein’s most popular work. For me, the event is a mash-up of two of my passions: good music and historic preservation. The CUNY Graduate Center is located in the repurposed B. Altman & Co.
For Louis Bernstein at 100 calendar of events, go here.
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.
Ciro’s was one of a string of nightclubs owned by Frank Palumbo, a restaurateur, humanitarian, and power broker.
In 1948, Louis Armstrong’s All Stars — featuring Barney Bigard, Sid Catlett, Earl Hines, Velma Middleton and Jack Teagarden — recorded a series of radio broadcasts at Ciro’s.
All That Philly Jazz 