Philadelphia is a city of neighborhoods. Legendary trumpeter Lee Morgan grew up on Madison Street in the Nicetown/Tioga neighborhood in North Philly. Lee’s block is a 20-minute walk from the intersection of Broad, Germantown and Erie (BGE).
In conjunction with traffic safety and beautification improvements to the iconic intersection, the Office of Arts, Culture, and the Creative Economy (OACCE) issued a Call for Artists to compete for a site-specific public artwork. During an information meeting, Rachel Schwartzman, Percent for Art Rebuild Project Manager, shared the goals of the BGE Public Art Project.
Sundays were for teenagers. The record hops were promoted as “wholesome affairs that will help keep youngsters off the streets and out of trouble.”
The Arcade Ballroom was located in a two-story building constructed in 1920. There were retail stores on the ground floor and a dance hall on the second floor. The building is still there.
The finalists competing for the Percent For Art commission have been selected. OACCE invites the public to meet the artists and share their ideas for the BGE project. I plan to attend the community meeting to share this neighborhood history with the artists.
To reserve a spot for the community meeting, go here.
All That Philly Jazz was an official partner of the 1st Annual Music Landmarks Virtual Fest, organized by the American Music Landmarks Project. The virtual event celebrated the architectural legacy of American popular music.
The Douglass Hotel, former home of the Cotton Club, Show Boat and Bijou Café, was featured on Day 2.
The Aqua Lounge, future location of Lee Morgan’s historical marker, was featured on Day 4.
Ticket holders have access to all Fest content through November 30, 2023.
Black sacred places matter. From Bishop Richard Allen preaching at Mother Bethel, Denmark Vesey planning a slave rebellion at Mother Emanuel, and Minister Malcolm X teaching at Muhammad’s Temple of Islam No. 12, Black sacred places have been the heart and soul of the African American community.
Dr. Henry Louis Gates Jr., an advisor to the African American Cultural Heritage Action Fund, observed: “No pillar of the African American community has been more central to its history, identity, and social justice vision than the ‘Black Church.’”
Preserving Black Churches is a project of the African American Cultural Heritage Action Fund which is led by National Trust for Historic Preservation Senior Vice President Brent Leggs. In an interview with Robin Givhan of the Washington Post, Leggs said:
It’s critically important that we preserve the physical evidence of our past, that we preserve the historic buildings that are imbued with legacy and memory, that we preserve the profound stories that are embodied in the walls, landscapes, and cemeteries stewarded by African American churches.
Rooted in the Black experience, jazz both has been a sanctuary and found sanctuary in the church. Now a jazz standard, Duke Ellington’s “Come Sunday” is a celebration of the African American religious tradition.
The Ku Klux Klan’s bombing of Birmingham’s 16th Street Baptist Church which killed four Black children moved John Coltrane, the grandson of a prominent African Methodist Episcopal minister, to compose “Alabama.”
Partners for Sacred Places and the Preservation Alliance for Greater Philadelphia recently launched the Philadelphia Fund for Black Sacred Places (PFBSP). The three-year project will expand public access to purpose-built religious properties of architectural, historical or cultural significance, regardless of denomination, that are operated and owned by an active community of faith. PFBSP will provide planning and programming grants, as well as capital grants to support Black congregations’ efforts to maintain their properties.
The public’s response to the murder of George Floyd in June 2020 gave focus to the unanswered needs of our city’s Black communities. Religious properties have space that can be developed to respond to these needs in creative and innovative ways after worship. The houses of worship that are selected to participate in this grant program will provide welcoming and affirming space to the public that will benefit all of our communities.
PFBSP will provide up to $10,000 in planning grants and up to $250,000 in 1:2 matching grants ($2 granted for each $1 raised) for the planning and execution of projects that expand equitable access to Black-led historic sacred places. Eligibility guidelines are available here. The application deadline is January 31, 2024.
Register here for the November 17 info session on completing the application. If you have any questions, contact PFBSP Director Betsy Ivey by email or by phone at (215) 567-3234 x29.
Thelonious Sphere Monk was born on October 10, 1917 in Rocky Mount, North Carolina.
The legendary pianist and composer performed at several Philadelphia jazz clubs, including Emerson’s Tavern and the Showboat. He was a headliner at the 1st Quaker City Music Festival.
The bebop pioneer joined the ancestors on February 17, 1982. He bequeathed musicians a list of tips to make them better performers.
One of my most memorable experiences was attending Monk’s funeral service. The homegoing was held at Saint Peter’s Church in New York City. Musicians played version-after-version of “’Round Midnight.” With over 1000 versions of the jazz standard, Monk’s is still my favorite.
WKCR has a special 24-hour broadcast celebrating Monk’s heavenly birthday.
With over 60,000 items, the Louis Armstrong Archive is the largest for one jazz musician. On July 6, the Louis Armstrong Center opened across from the house in Corona, Queens where Pops lived from 1943 until his death on July 6, 1971.
Check out CBS Sunday Morning’s tour of the Louis Armstrong Center.
During Black Music Month, Herb Spivak, co-owner of two of Philadelphia’s legendary jazz clubs, the Showboat and Bijou Café, and I lamented how the annual celebration is increasingly focusing on today’s popular music while ignoring the roots. Like all Black music genres, hip-hop flows from a tree with very deep roots.
I’m a doer so I suggested that we write an opinion piece. We did. Our op-ed was published online and in the print edition of the Philadelphia Inquirer.
Here’s an excerpt:
There was a place outside in Washington Square known as Congo Square, where free and enslaved Black people would gather to sing and dance to the music of West African cultures. Bandleader, composer, and Philly native Francis Johnson performed across the United States and was the first Black musician to tour Europe with a band in the 1800s. Soon after, he was followed by singer Elizabeth Taylor Greenfield, who also lived in Philadelphia.
The flood of Black music out of Philadelphia continued into the 1900s, as Dizzy Gillespie and Charlie Parker improvised bebop at the Down Beat on South 11th Street, Kenneth Gamble and Leon Huff founded Philadelphia International Records, and the Roots played hip-hop on South Street.
[…]
Black music history matters. As Marcus Garvey, founder of the Universal Negro Improvement Association, said, “A people without the knowledge of their past history, origin and culture is like a tree without roots.” Black music has always been more than entertainment. From the “sorrow songs” of the enslaved to the protest songs of the Black Lives Matter movement, Black music is a first draft of history.
Thomas Greene Wiggins was born May 25, 1849 to Mungo and Charity Wiggins, slaves on a Georgia plantation. He was blind and autistic but a musical genius with a phenomenal memory. In 1850 Tom, his parents, and two brothers were sold to James Neil Bethune, a lawyer and newspaper editor in Columbus, Georgia. Young Tom was fascinated by music and other sounds, and could pick out tunes on the piano by the age of four. He made his concert debut at eight, performing in Atlanta. In 1858 Tom was hired out as a slave-musician, at a price of $15,000.
In 1859, at the age of 10, he became the first African American performer to play at the White House when he gave a concert before President James Buchanan.
The musical phenomenon is memorialized in Elton John’s “The Ballad of Blind Tom.”
