On June 7, 1979, President Jimmy Carter recognized June as Black Music Month. A resolution recognizing the importance of African American music was introduced by Congressman Chaka Fattah in 2000. Passed unanimously by the House of Representatives, House Resolution 509 proclaimed:
Whereas African-American genres of music such as gospel, blues, jazz, rhythm and blues, rap, and hip-hop have their roots in the African-American experience.
Incredibly, some question whether jazz is black music. That was the subject of a panel discussion at Lincoln Center a few years ago. Jazz critic Nat Hentoff wrote:
We wouldn’t have been at Lincoln Center for that discussion had it not been for black field hollers, ring games, call and response church music and the blues. So it’s indisputable that jazz began as black music.
That 2008 discussion wasn’t the first time the roots of jazz were questioned. A 1959 documentary, Cry of Jazz sparked controversy when one of the characters asserted that “jazz is merely the Negro’s cry of joy and suffering.” The character, Alex, explained that “the Negro was the only one with the necessary musical and human history to create jazz.”
In 2010, Cry of Jazz was added to the National Film Registry of the Library of Congress. The films selected are considered “culturally, historically or aesthetically significant, to be preserved for all time. These films are not selected as the ‘best’ American films of all time, but rather as works of enduring significance to American culture.”
Black culture matters.
I spent Day 3 of Black Music Month at Opera Philadelphia’s social media final dress rehearsal for Charlie Parker’s YARDBIRD, a bebopera about the legendary saxophonist.
I was among a select group of bloggers who were invited to live-tweet the event.
Check out the Opera Philadelphia’s storified post.
Philadelphia Jazz Appreciation Month is in full swing.
In a recent interview, I noted that jazz musicians performed in nightclubs where they couldn’t sit and hotels where they could not stay. The jazz legends whose music paved the way for the Civil Rights movement were subjected to racial discrimination as they traveled while black.
In 1936, Victor H. Green, a postal worker and civil rights activist, published the first edition of The Negro Motorist Green Book, a travel guide to navigate Jim Crow laws in the South and de facto segregation in the North.
“The Green Book,” as it was called, lists tourist homes, restaurants, nightclubs, beauty parlors, barber shops and other services. Philadelphia hotels in the 1949 edition include the Attucks, Chesterfield and Douglass.
The list of taverns includes Emerson’s, the setting for the Tony Award-winning play, “Lady Day at Emerson’s Bar and Grill.
The Café Society and Watts’ Zanzibar are listed.
After passage of the Civil Rights Act in 1964, “The Green Book” was no longer published. As All That Philly Jazz breathes life into the city’s jazz heritage, my appreciation of jazz is increasing exponentially.
Since 2002, April has been designated Jazz Appreciation Month. This year’s celebration was kicked off with a big bang. The Smithsonian announced the LeRoy Neiman Foundation has donated $2.5 million towards the expansion of jazz programming.
The foundation also donated “Big Band,” a painting by LeRoy Neiman.
Neiman considered the painting “one of the greatest in his career.” Four of the 18 iconic jazz musicians have been inducted into the Philadelphia Walk of Fame – John Coltrane, Dizzy Gillespie, Billie Holiday and Gerry Mulligan.
The painting is now on display at the National Museum of American History.