Tag Archives: Race

Philadelphia Jazz Heritage Walking Tour: Green Book Edition

What’s old is new again. The Negro Motorist Green Book published by Victor H. Green, a postal worker in Harlem, is all the rage. Access to the Green Book in the New York Public Library Digital Collections and the regrettable “Green Book” movie sparked interest in the crowdsourced travel guide that was published from 1936 to 1966.

#GreenBookPHL Collage

The Green Book empowered African Americans to “vacation without aggravation.” The guide helped travelers, including musicians, athletes and businesspeople, navigate Jim Crow laws in the South and racial segregation in the North. “Your Rights, Briefly Speaking!” is a precursor to the current mantra to “know your rights.”

Your Rights, Briefly Speaking (1963-1964)

A network of postal workers scouted out advertisers for the travel guide. Green Book listings included hotels, restaurants, nightclubs, theaters, barber shops and beauty parlors. Green envisioned a time when his publication would no longer be necessary:

There will be a day sometime in the near future when this guide will not have to be published. That is when we as a race will have equal opportunities and privileges in the United States. It will be a great day for us to suspend this publication for then we can go wherever we please, and without embarrassment. But until that time comes we shall continue to publish this information for your convenience each year.

That day did not come until July 2, 1964. The Civil Rights Act of 1964 prohibits discrimination in public accommodations.

Over the course of 30 years, there were dozens of Philadelphia listings. Some businesses advertised every year; others for one or multiple years. Drawing on archival materials and oral histories, we contextualize the social history of jazz. Green Book sites were sites of sanctuary. They were also sites of resistance.

All That Philly Jazz Walking Tour: Green Book Edition will visit safe spaces in Center City and South Philly.

Douglass Hotel Bus Depot

The tour begins at the Bellevue-Stratford Hotel (now The Bellevue Philadelphia) and ends at the repurposed Attucks Hotel. Parenthetically, the architectural drawings for the Attucks Hotel are included in the Magaziner Collection of the Athenaeum of Philadelphia.

#GreenBookPHL Begin-End - Feature

Stops include:

  • National historic landmark where John Coltrane and Benny Golson first heard Charlie Parker and Dizzy Gillespie;
  • Supper club that was a hangout for the producers and musicians who created “The Sound of Philadelphia”;
  • Hotel that welcomed jazz luminaries to its stage from the 1940s to the 1980s, and where Sidney Bechet, Coltrane and Grover Washington Jr. recorded live albums;
  • Hotels where Billie Holiday stayed and was arrested;
  • Pep’s Musical Bar where jazz and blues greats performed on the inside and tap dancers improvised on the outside;
  • Jazz club that paid homage to postal workers and U.S. Postal Service;
  • Dive bar that was the setting for the Broadway play “Lady Day at Emerson’s Bar and Grill”;
  • Fraternal lodge where Bessie Smith’s funeral was held and an after-hours club was located on the top floor; and
  • Residence for African American women made possible with the financial support of John Wanamaker.

All That Philly Jazz Walking Tour: Green Book Edition will be held in September and October. The tour will be led byAl Faye Anderson, a storyteller who is passionate about uncovering hidden places and untold stories.

#GreenBookPHL - Faye Anderson - Club 421

Join us as we walk and talk about a forgotten chapter of Philadelphia history.

The Jazz Ambassadors

“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.

Blue Note Salon

On December 8, 1956, the Miles Davis Quintet, featuring Miles Davis (trumpet), John Coltrane (tenor saxophone), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums) performed at the Blue Note. The set was featured on the Mutual Network live remote radio broadcast, Bandstand, U.S.A.

That same night, the police raided “the town’s swankiest jazz emporium.” The Blue Note was a “black and tan” club, an integrated nightspot where blacks and whites socialized on an equal basis. As such, it was the target of police harassment.

Philadelphia Tribune - Dec. 11, 1956

From the beginning, jazz was a tool for social change. Jazz musicians’ unbowed comportment created a cultural identity that was a steppingstone to the Civil Rights Movement. In remarks to the 1964 Berlin Jazz Festival, Dr. Martin Luther King Jr. said jazz is “triumphant music”:

Jazz speaks for life. The Blues tell the story of life’s difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph.

This is triumphant music.

Modern jazz has continued in this tradition, singing the songs of a more complicated urban existence. When life itself offers no order and meaning, the musician creates an order and meaning from the sounds of the earth which flow through his instrument.

It is no wonder that so much of the search for identity among American Negroes was championed by Jazz musicians. Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls.

Much of the power of our Freedom Movement in the United States has come from this music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down.

On April 21, 2018, All That Philly Jazz and Black Quantum Futurism will present the “Blue Note Salon” which pays homage to jazz musicians’ legacy of resistance. The community discussion will feature creative change makers who work on social justice issues. Their work is at the intersection of art, community engagement and social change.

Blue Note Salon

The event is free and open to the public. To RSVP, go here.

African-American Music Appreciation Month 2017

On June 7, 1979, President Jimmy Carter proclaimed the month of June “Black Music Month.” Every president since then has recognized the contribution of black musicians to the nation’s cultural heritage. In 2009, President Barack Obama changed the month-long celebration to “African-American Music Appreciation Month.”

The tradition continues with President Donald Trump:

During June, we pay tribute to the contributions African Americans have made and continue to make to American music. The indelible legacy of these musicians who have witnessed our Nation’s greatest achievements, as well as its greatest injustices give all Americans a richer, deeper understanding of American culture. Their creativity has shaped every genre of music, including rock and roll, rhythm and blues, jazz, gospel, hip hop, and rap.

[…]

We also take time this month to recognize the musical influence of two of the greatest jazz musicians of all time, Dizzy Gillespie and Ella Fitzgerald, as this year marks their centennial birthdays. Gillespie, through his legendary trumpet sound and Fitzgerald, through her pure, energetic voice, treated people around the world to spirited and soulful jazz music. Their work has influenced countless musicians, and continues to inspire listeners young and old.

NOW, THEREFORE, I, DONALD J. TRUMP, President of the United States of America, by virtue of the authority vested in me by the Constitution and the laws of the United States, do hereby proclaim June 2017 as African-American Music Appreciation Month. I call upon public officials, educators, and all the people of the United States to observe this month with appropriate activities and programs that raise awareness and appreciation of African-American Music.

I kicked off this year’s celebration by attending opening night of Motown The Musical.

The multi-media musical recaps familiar stories about how Berry Gordy Jr. founded the Motown Record Company; Gordy’s affair with Diana Ross; self-destructive Florence Ballard; the tempting Temptations and their rivalry with the Four Tops; songwriter, singer and Motown lifer Smokey Robinson; child prodigy and history-maker Stevie Wonder; and the discovery of The Jackson 5. The Motown breakups include Mary “My Guy” Wells, Marvin Gaye, songwriting and production team Holland-Dozier-Holland, and Diana Ross and the Supremes.

The audience went nuts when Martha Reeves and the Vandellas gave “Philadelphia, PA” a shout-out in “Dancing in the Streets.” Although one knows how the stories end, the retelling is fresh and joyous. The musical culminates with a “family” reunion to celebrate the 25th anniversary of Motown.

I remember like it was yesterday watching the television special, Motown 25: Yesterday, Today, Forever. In 1983, I sang the songs at the top of my lungs, danced in front of the TV, and marveled as Michael Jackson debuted the moonwalk. At the Academy of Music, I danced in my seat and tried not to sing too loud.

But it wasn’t just the songs and dancing that kept a smile on my face. I love that the music is contextualized. Motown addresses racial segregation in the South and the North, the senseless war in Vietnam, the March on Washington, the assassination of Dr. Martin Luther King Jr., and the Black Power Movement. By the 1970s, the “Motown Sound” was the sound of the struggle for racial justice.

Motown The Musical is playing at the Academy of Music through June 11. For ticket information, visit kimmelcenter.org.

Historic Preservation and Social Justice

Two years ago I launched All That Philly Jazz, a place-based public history project that is telling the story of Philadelphia’s golden age of jazz. In documenting the places where jazz history unfolded, I am also contextualizing the impact of jazz musicians and the jazz culture on the struggle for social justice.

Fact is, the jazz culture was about “intersectionality” before the term was coined . As Philadelphia Inquirer architecture critic Inga Saffron notes in her column, “Ridge Avenue’s last standing jazz club,” gay performers such as the “Sepia Gloria Swanson” were an integral part of the scene.

Checker Cafe Ads

In a piece for PlanPhilly, I wrote about why historic preservation matters:

1409 Lombard Street helps tell the story of artistic greats like Lady Day, Ray Charles, John Coltrane, Miles Davis, Nina Simone and McCoy Tyner. It also tells the story of disruption and defiance. In remarks to the 1964 Berlin Jazz Festival, Dr. Martin Luther King Jr. said jazz is “triumphant music.” If walls could talk, they would tell how the jazz culture broke down social barriers. The first racially integrated nightspot in Center City was a jazz club, the Downbeat. For the first time, blacks and whites mixed on an equal basis. Jazz musicians created a cultural identity that was “a steppingstone” to the Civil Rights Movement.

At its core, historic preservation is about storytelling. The question then becomes: Who decides what gets saved and whose story gets told? The built environment reflects racial inequalities. Given African Americans’ socioeconomic status, few of the buildings associated with black history meet preservation standards regarding architectural significance. Although unadorned, they are places that tell a more complete American story. The stories of faith, resistance, and triumph are relevant to today’s social justice activists.

Read More

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.