Located on the corner of 16th and South streets, Budweiser played host to, among others, Count Basie, Nat King Cole and Sarah Vaughan. According to saxophonist Sam Reed, Billie Holiday performed here.
Saxophonist Benny Carter played here with Jimmy Tisdale and his Orchestra.
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.
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.
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.
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.
The joint was jumping.
The Rendezvous Room was located on the first floor of the Hotel Senator. It was operated by Irvin Wolf from 1947 to 1955.
In a piece for the Tri-state Jazz Society, Rabbi Lou Kaplan wrote:
Located at 915 Walnut Street in the Hotel Senator, the Rendezvous was owned by jazz enthusiast Lee Guber. It opened January 22, 1947. After entering, one saw a long U-shaped bar on the right, behind which the bandstand was situated. To the left were tables for customers. More tables were available in the back of the room than in the narrow front section. A large photomural blowup of Pablo Picasso’s Three Musicians painting dominated a corner wall.
Many singers who later became big names made their first or an early start in the Rendezvous: Rosemary Clooney, Eydie Gorme, Joni James, Patti Page, to list a few. Later came such well-known vocalists as Thelma Carpenter, Ella Fitzgerald, Ella Mae Morse, Maxine Sullivan, Sarah Vaughan, and Lee Wiley. (I recall marveling one night at how Billie Holiday’s relaxed, syncopated phrasing reshaped each number.) Booked, too, were folk singers Harry Belafonte, Burl Ives, and Josh White; actor John Carradine; musicians Earl Hines, Gene Krupa, Meade Lux Lewis, Charlie Parker, and Artie Shaw; and many other “greats.”
While the Rendezvous engaged various types of entertainment, most prominent was Dixieland jazz. The number one jazz attraction was Bechet, who, for instance, was featured four times in one 12- month period, each for a minimum of two weeks. Actress Tallulah Bankhead, a Bechet devotee and friend, came to the club whenever possible if he was playing. One night she asked Guber, “Would you like to sell twice as much whiskey?” After the owner’s obvious reply, Bankhead, in her husky baritone voice, laughingly advised, “Well, try filling up the glasses!”
The 3rd Annual Philadelphia United Jazz Festival will be held on Saturday, Sept. 12, 2015, from noon to 10pm. The free festival will be held on South Street, between Broad and 16th streets.
The festival features an exciting lineup of talent, including Odean Pope, Sam Reed, Jamaaladeen Tacuma, Warren Oree, Bobby Zankel, Arpeggio Jazz Ensemble, and the U.S. Army Jazz Big Band.
For more information, visit Philadelphia United Jazz Festival.
On Saturday, Aug. 15, 2015, Beech Community Services will present the 9th Annual “Jazz on the Ave.” The free community festival will stretch along four blocks on Cecil B. Moore Avenue, between Broad and 17th Streets.
Ken Scott, president of the Beech Companies, said:
Each year, this concert continues to grow with thousands attending from the Tristate area and beyond. From local celebrities, like Bernard Hopkins, to longtime community members, this concert continues to be one of the must attend summer concerts of the year.
During Philly’s jazz heyday, the “Ave” was known as Columbia Avenue. The four blocks were part of “The Golden Strip,” which stretched from 8th Street to 23rd Street. Columbia Avenue was chock-a-block with jazz joints, including such legendary spots as Cafe Society, Watts’ Zanzibar and the Web.
For festival updates, follow Jazz on the Ave on Twitter, Instagram, or like them on Facebook.
National Dance Day was first celebrated in the District of Columbia and Los Angeles in 2010.
In 2012 and every year since, Congresswoman Eleanor Holmes Norton has introduced a congressional resolution to designate the last Saturday in July as National Dance Day:
National Dance Day has become a grassroots movement when Americans across the country host local events celebrating dance for fun and exercise. The contribution of National Dance Day to healthy lifestyles makes dance do double duty in a nation that wants to be fit and loves to dance.
Americans’ have a longstanding fascination with black dance. Indeed, Harlem’s legendary Savoy Ballroom was a featured exhibit at the 1939 World’s Fair.
The Savoy Ballroom was the first integrated ballroom in the country. Like jazz, swing dancing helped paved the way for the Civil Rights Movement. The jazz culture allowed black and white people to see each other and dance together. More important, blacks were social peers. For a good read on the history of swing, check out “Queen of Swing” Norma Miller’s biography Swingin’ at the Savoy: A Memoir of a Jazz Dancer.
Now 96, the grande dame of swing is scheduled to perform at the Charlie Parker Jazz Festival on Aug. 22, 2015.
Trumpeter and Lincoln Center artistic director of jazz Wynton Marsalis spoke and performed in the closing session of the 2015 Aspen Ideas Festival. Marsalis observed:
In our country the greatest challenge is for all of us to be together in spite of our history, and not only in spite of it, but because of our history.
Marsalis was joined by multi-instrumentalist Jon Batiste, bandleader on the forthcoming “The Late Show with Stephen Colbert” on CBS.
The Curtis Institute of Music is a conservatory located in Rittenhouse Square. According to U.S. News & World Report, it has the lowest acceptance rate of any college or university (3.2%), making it the most selective institution of higher education in the United States.
The Institute’s most celebrated rejected applicant is Nina Simone who was denied admission even though she had given classical piano recitals since age 10. Jazz.com reported:
At the age of seventeen, Simone moved to New York to take classes at the Juilliard School of Music in New York. She then moved with her family to Philadelphia, where she auditioned for the city’s prestigious Curtis Institute, a conservatory of classical music.
Simone sought the help of a private instructor to help her audition for the Curtis Institute, but was ultimately denied after a supposedly excellent audition. Simone said she later found out from an insider at Curtis that she was denied entry because she was black. This heightened her anger over the racism which was pervasive in the United States during this period.
NB: The Curtis Institute awarded Nina Simone an Honorary Doctor in Music and Humanities two days before her death in 2003.
The Mitch Thomas Show debuted on August 13, 1955. It was one of the first televised dance shows for black teenagers. During its three-year run, Mitch Thomas brought black rock and roll stars to television, including Little Richard, the Moonglows, Frankie Lymon and the Teenagers, and Ray Charles.
The Mitch Thomas Show was broadcast from a studio atop Suburban Station in Center City. Across town in West Philly, Bandstand, excluded black dancers and audience members:
In a typical dissemination process [read: cultural appropriation], dances seen on Bandstand were often picked up at school dances or local dance hops and brought back to the show where they were presented by mostly white adolescents. In fact, many dances derived from The Mitch Thomas Show, the popular all-black teen show in Philadelphia, from which they were copied by white teens and then seen on Bandstand.
On August 5, 1957, Dick Clark made his debut as host of Bandstand. Clark’s claim that he integrated the show before it left Philadelphia has been debunked
More than fifty years after the show first broadcast, American Bandstand’s representations of youth culture remain closely linked both to the show’s legacy and to larger questions about popular culture, race, segregation, and civil rights. Billboard magazine journalist Fred Bronson, for example, argues that American Bandstand was a “force for social good.” Bronson bases this claim on Dick Clark’s memory that he integrated the show’s studio audience when he became the host in 1957. “I don’t think of myself as a hero or civil rights activist for integrating the show,” Clark contends, “it was simply the right thing to do.”
In the context of local and national mobilization in favor of segregation, underscored by widespread anti-black racism, integrating American Bandstand would have been a bold move and a powerful symbol. Broadcasting daily evidence of Philadelphia’s vibrant interracial teenage culture would have offered viewers images of black and white teens interacting as peers at a time when such images were extremely rare. Clark and American Bandstand, however, did not memory of integration. Rather than being a fully integrated program that welcomed black youth, American Bandstand continued to discriminate against black teens throughout the show’s Philadelphia years.
All That Philly Jazz 