Artic Records

Founded by WDAS program director and DJ Jimmy Bishop in 1964, Artic Records was a building block for “The Sound of Philadelphia.”

Future cofounder of Philadelphia International Records Kenny Gamble was a songwriter and producer for the record label, and recording artist with the group, Kenny Gamble and the Floaters.

In a 2013 interview, Rock and Roll Hall of Famer Gamble told WHYY:

That was like my training ground. It was like going to school. Experimenting. Jimmy Bishop used to let me work in the studio, work on the board.

Daryl Hall of Hall & Oates got his start at Arctic with the blue-eyed soul group the Temptones

A teenager from North Philly, Barbara Mason, wrote and recorded Artic’s best-selling record (Kenny Gamble was one of the backup singers).

Arctic released its last record in 1971. Around the same time, Jimmy Bishop disappeared, and to this day nobody knows whether he’s dead or alive.

The site of Artic Records is a stop on my walking tour, “North Broad Street: Then and Now.” We will take a stroll down North Broad in October 2022. To be added to the mailing list, send your contact info to greenbookphl@gmail.com.

Eyes on Pulitzer Prize for Duke Ellington

Dr. Martin Luther King Jr. famously said, “The time is always right to do what is right.” It’s past time for the Pulitzer Prize Board to do right by Duke Ellington and grant him the award he was denied in 1965. The New York Times reported on May 5, 1965.

Jazz historian and author Ted Gioia has launched an online petition for Duke Ellington to be granted the Pulitzer Prize in Music:

In 1965, the jury for the Pulitzer Prize in Music recommended that jazz composer Duke Ellington receive the award in honor of his lifetime legacy of excellence. The Pulitzer Board denied the request, and decided to give no award in music that year rather than honor an African-American jazz composer. In the aftermath, two of the three jury members resigned in protest.

The time has come to rectify this unfortunate decision, and name Duke Ellington as the winner of the 1965 Pulitzer Prize in Music. The recent precedent of Jim Thorpe’s reinstatement as sole winner of the 1912 Olympic gold medals, taken from him 110 years ago, makes clear that even after many decades these wrongs can still be righted. Ellington was a deserving candidate back in 1965, and the significance of his legacy has become all the clearer with the passage of time. Giving him the 1965 prize is the right thing for Duke Ellington, the right thing for the Pulitzer, and the right thing for American music.

It’s never too late to right an egregious wrong. If you love Duke Ellington madly, keep your eyes on the Pulitzer Prize and sign the petition.

Journey to Freedom from White Privilege

At the height of the Black Power Movement, the Metropolitan Museum of Art mounted an exhibition, “Harlem on My Mind: The Cultural Capital of Black America, 1900-1968,” that excluded paintings and sculptures by African American artists.

The exclusion caused an uproar in the Black community. Historian John Henrik Clark, a consultant for the exhibition, later withdrew in protest. Dr. Clark told The New York Times:

In the light of the vocal role played by blacks in the current social upheaval, it is shocking that [Museum Director Thomas] Hoving and [Exhibition Curator Allon] Schoener have remained sheltered from urban life. They continue to persist in a paternalistic approach to black people – one that demands that whites define and describe the black experience, about which they know nothing.

Fast forward to today, Philadelphia Mayor Jim Kenney and his appointee, Kelly Lee, executive director of the Office of Arts, Culture and the Creative Economy (OACCE), want to give a no-bid $500,000 commission to Wesley Wofford, creator of the traveling statue, Harriet Tubman: The Journey to Freedom. The commission would be for a new statue. Wofford has no unique insight into Harriet Tubman and knows nothing about Philadelphia, a city that is majority minority. His studio is located in the North Carolina Mountains.

The exclusion of Black artists has caused an uproar. OACCE’s plan to spoon-feed Wofford gives new meaning to “starving artist.” The data collected from the public survey “will help determine the theme and messaging of the permanent Harriet Tubman statue to make it unique to Philadelphia and inform the physical design and statue’s text.”

We are taking a page from the Black Emergency Cultural Coalition, a watchdog group whose members included Benny Andrews, Romare Bearden and Harlem residents. We are protesting the planned exclusion of Black, women and other underrepresented artists from competing for the Harriet Tubman commission. Much to their chagrin, Mayor Kenney and Kelly Lee cannot just give Wofford the commission. While professional services contracts are not subject to the lowest responsible bidder requirement of the Home Rule Charter, OACCE must follow the procurement process and post a non-competitively bid contract opportunity to the eContract Philly website. Applicants will have at least 15 days to submit a proposal. When the notice of “New Contract Opportunities” is posted, we will give the signal.

We will share the Request for Proposals on social media and via email. Established artists should be able to respond within the timeframe. We already know the location of the statue, City Hall’s North Apron, and some design elements, granite base and at least nine feet tall. The theme(s) will be announced once the public survey data are compiled. So start visualizing your design. By the way, don’t be concerned that submitting a proposal will jeopardize future opportunities with OACCE. Kelly Lee and Jim “I’ll be happy when I’m not mayor” Kenney are lame ducks. Kenney leaves office in January 2024.

For updates, join the Facebook group, Celebrating the Legacy of Nana Harriet Tubman Committee. If you’re not on Facebook, send your contact info to phillyjazzapp@gmail.com to be added to the Harriet Tubman Statue mailing list.

What to the Slave is the Fourth of July?

In an Independence Day speech to the Rochester Ladies’ Anti-Slavery Society on July 5, 1852, Frederick Douglass asked, “What to the slave is the Fourth of July?”


The world will come to Philadelphia in 2026 to commemorate the 250th anniversary of the Declaration of Independence. In an op-ed published in The Philadelphia Inquirer, I wrote that rather than celebrate slaveholders (34 of the 56 Signers, including Thomas Jefferson, owned slaves), we should celebrate resistance to slavery as personified by Douglass.

The renowned orator’s presence in Philadelphia dates back to his escape from bondage. He arrived by steamboat from Wilmington in 1838. We can bring Frederick Douglass to life by staging public readings of his iconic speech at places and sites associated with the abolitionist, including Independence Hall, Mother Bethel AME Church, Concert Hall, the Union League of Philadelphia and Camp William Penn. Douglass was delivering a lecture at National Hall when the news came about John Brown’s raid on Harpers Ferry.

At the same time, we should heed the advice that Douglass gave a Black activist shortly before his death: “Agitate! Agitate! Agitate!” Agitation means we resist Philadelphia insiders who presume to tell us how the United States Semiquincentennial should be commemorated. We should follow the blueprint of the July 4th Coalition which, in 1976, rallied between 30,000 and 40,000 people to protest the lack of diversity in official celebrations and the whitewashing of history.

You can read my op-ed, “This July 4th, let’s honor Frederick Douglass and ‘agitate’” here.

The Blue Note Show

Sadly, all good things must come to an end. So I will close out Black Music Month with “The Blue Note Show” which aired on PBS’ Soul! television series on January 26, 1972.

The episode featured Blue Note Records artists Horace Silver, Bobbi Humphrey, Cecil Bridgewater, Bob Crenshaw, Billy Harper, Harold Mabern, and Andy and Salome Bey. Philadelphia natives Jymie Merritt and Lee Morgan, and long-time resident Mickey Roker were in the house. At 33:58 Silver tells host Ellis Haizlip that he formed his quintet after “the fellow that owned the Showboat in Philadelphia called me and said he wanted me to get a group together and come in for a week.”

Lee Morgan’s appearance on Soul! was one of his last performances. He was shot and killed less than a month later.

Lee Morgan’s legacy lives on. All That Philly has nominated the legendary trumpeter for a Pennsylvania historical marker. We are hopeful the nomination will be approved when the committee meets in September.

Black Music Appreciation Month 2022

President Jimmy Carter designated June as Black Music Appreciation Month in 1979.

In a proclamation, President Joe Biden said:

 For generations, Black music has conveyed the hopes and struggles of a resilient people — spirituals mourning the original sin of slavery and later heralding freedom from bondage, hard truths told through jazz and the sounds of Motown during the Civil Rights movement, and hip-hop and rhythm and blues that remind us of the work that still lies ahead.  The music created by Black artists continues to influence musicians of all persuasions, entertain people of all backgrounds, and shape the story of our Nation.

As noted in the 1971 documentary “Black Music in America: From Then Till Now,” Black music is “one of the great artistic contributions to American culture. Black music in America began as the African drum beat and plantation song ignored and then suppressed by white culture.”

To explore the history of Black American music, check out the Black Music Project.

Parisian Tailors’ Colored Kiddies of the Air

Sam and Harry Kessler opened Parisian Tailoring Company on South Street, the-then heart of the Black community, in 1923. Better known as Parisian Tailors, the company made uniforms – sports jackets and slacks – for Black orchestras. Chief cutter Eddie Lieberman promoted musical acts on the side. Business was booming so as a way to give back to the Black community, Lieberman proposed a children’s radio show to compete with predominantly white The Horn and Hardart Children’s Hour.

The weekly radio show, Parisian Tailors’ Colored Kiddies of the Air, was broadcast from the stage of the Lincoln Theater. Colored Kiddies of the Air debuted on Sunday, March 27, 1932 on WPEN. The live broadcasts featured young Black musicians backed by all-star big bands.

Regular child performers included future jazz legends and National Endowment for the Arts Jazz Masters Percy Heath Jr. (bassist) and Joe Wilder (trumpeter). Wilder went on to become the first African American to play a principal chair in a Broadway pit orchestra. He also integrated broadcast radio and television network orchestras.

In Softly, With Feeling: Joe Wilder and the Breaking of Barriers in American Music, biographer Edgar Berger wrote:

The Colored Kiddies radio show emanated from the stage of the Lincoln Theatre, on Broad and Lombard Streets, Philadelphia’s main venue for leading black performers. Duke Ellington, Jimmie Lunceford, Louis Armstrong, Fletcher Henderson, and Fats Waller were just some of regular headliners at the Lincoln in the mid-1930s. What was most extraordinary about the radio show is that the children were backed by members of these legendary orchestras. Because of Pennsylvania’s blue laws, there could be no regular performances in clubs or theaters on Sunday. As Joe put it, “We could go out and shoot each other on Sunday, but we weren’t allowed to play jazz!” So as part of their contracts with the theater, the visiting bands were obligated to play behind the youngsters during the one-hour broadcasts on Sunday mornings. “We had the joy of having every name band—Duke Ellington, Cab Calloway, Fletcher Henderson, Earl Hines, Count Basie, the Mills Blue Rhythm Band— play for us on their day off,” Joe said. “They would improvise backgrounds for whatever we played, and they encouraged us. It was unbelievable!” Although the bandleaders themselves didn’t usually play, they did come to the rehearsals to make sure that their musicians fulfilled the terms of their contracts.

John Coltrane House Digital Reconstruction

National Preservation Month began as National Historic Week in May 1973. It has been a month-long celebration since 2005. This year’s theme, “People Saving Places,” encapsulates efforts to save the John Coltrane House.

The Coltrane House has been in a deteriorating condition for more than two decades. Restoration has been stymied by, i.a., legal entanglements (the owner of record died in 2007) and lack of imagination. Over the past 20 years, there have been several schemes to repurpose the property as a historic house museum. The schemers failed to recognize that the historic house museum business model wherein an organization has to raise millions of dollars before the property is open to the public and millions more to keep the door open is no longer feasible.

As I wrote in an op-ed published in the Philadelphia Inquirer, an Act 135 conservatorship is the only viable option to save this National Historic Landmark.

I am collaborating with Chris Hytha, a digital artist and founder of the Rowhomes project, to raise awareness that the rowhome in which Coltrane lived from 1952 to 1958 is at risk. Hytha will create the John Coltrane House NFT, a unique digital artwork. He said:

NFTs are deeply rooted in the culture of collectability. Featuring the John Coltrane House would add another layer of historical significance, and has the potential to introduce this piece of Philadelphia history to a global audience. Collecting memorabilia has been a part of our culture for centuries, and NFTs provide a new outlet to raise funds for the preservation of this National Historic Landmark.

At the same time, I will team up with an architecture firm that is a pioneer in virtual design and construction. Building on architectural drawings, archival photos, scholarly research and oral histories, we will reconstruct the exterior and interior. In so doing, we will create a new paradigm for historic preservation. The interior of the rowhome where Coltrane experienced a “spiritual awakening” will be accessible to virtual visitors wherever they are in the world.

We will cast a wide net for a financially-capable alternate stewardship – an Act 135 conservatorship – to preserve the structure, the tangible reminder of John Coltrane, in public memory. We are taking giant steps to preserve for current and future generations the rowhome where John Coltrane composed “Giant Steps.”

For more info, contact All That Philly Jazz Director Faye Anderson at phillyjazzapp@gmail.com.

International Jazz Day 2022

In November 2011, the United Nations Educational, Scientific and Cultural Organization (UNESCO) designated April 30 as International Jazz Day “in order to highlight jazz and its diplomatic role of uniting people in all corners of the globe”:

International Jazz Day brings together communities, schools, artists, historians, academics and jazz enthusiasts all over the world to celebrate and learn about jazz and its roots, future and impact; raise awareness of the need for intercultural dialogue and mutual understanding; and reinforce international cooperation and communication. Every year on April 30, this international art form is recognized for fostering gender equality and for promoting individual expression, peace, dialogue among cultures, diversity, respect for human dignity, and the eradication of discrimination.

Director-General of UNESCO Audrey Azoulay said:

Jazz carries a universal message with the power to strengthen dialogue, our understanding of each other, and our mutual respect. As the world is affected by multiple crises and conflicts, this international day highlights how much music and culture can contribute to peace.

All That Philly Jazz director Faye Anderson is one of 19 American community partners.

On International Jazz Day, events will be held from Albania to Zimbabwe. Faye will lead a walking tour, Billie Holiday’s Philadelphia.

The signature event, an All-Star Global Concert, will be back where it all began – the United Nations General Assembly Hall in New York. The lineup includes Marcus Miller, Gregory Porter, David Sanborn, Ravi Coltrane, Randy Brecker, José James, Terri Lyne Carrington, Linda Oh, Shemekia Copeland and Lizz Wright.

Host and artistic director Herbie Hancock said:

With conflict and division in many parts of the world, it is my hope that, through the universal language of jazz, our celebration this year can inspire people of all nations to heal, to hope and to work together to foster peace.

The All-Star Global Concert will be webcast worldwide on April 30 at 5:00pm ET (2:00pm PT) on jazzday.com, unesco.org, hancockinstitute.org, and International Jazz Day YouTube and Facebook channels.