FILLMORE HERITAGE CENTER (Block 0732, Lots 032 & 033)
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THE BRILL BUILDING, 1619 Broadway (Aka 1613-23 Broadway, 207-213 West 49Th Street), Manhattan Built 1930-31; Architect, Victor A
Landmarks Preservation Commission March 23, 2010, Designation List 427 LP-2387 THE BRILL BUILDING, 1619 Broadway (aka 1613-23 Broadway, 207-213 West 49th Street), Manhattan Built 1930-31; architect, Victor A. Bark, Jr. Landmark Site: Borough of Manhattan Tax Map Block 1021, Lot 19 On October 27, 2009 the Landmarks Preservation Commission held a public hearing on the proposed designation of the Brill Building and the proposed designation of the related Landmark site. The hearing had been duly advertised in accordance with provisions of law. Three people spoke in support of designation, including representatives of the owner, New York State Assembly Member Richard N. Gottfried, and the Historic Districts Council. There were no speakers in opposition to designation.1 Summary Since its construction in 1930-31, the 11-story Brill Building has been synonymous with American music – from the last days of Tin Pan Alley to the emergence of rock and roll. Occupying the northwest corner of Broadway and West 49th Street, it was commissioned by real estate developer Abraham Lefcourt who briefly planned to erect the world’s tallest structure on the site, which was leased from the Brill Brothers, owners of a men’s clothing store. When Lefcourt failed to meet the terms of their agreement, the Brills foreclosed on the property and the name of the nearly-complete structure was changed from the Alan E. Lefcourt Building to the, arguably more melodious sounding, Brill Building. Designed in the Art Deco style by architect Victor A. Bark, Jr., the white brick elevations feature handsome terra-cotta reliefs, as well as two niches that prominently display stone and brass portrait busts that most likely portray the developer’s son, Alan, who died as the building was being planned. -
The Bebop Revolution in Jazz by Satyajit Roychaudhury
The Bebop Revolution in Jazz by Satyajit Roychaudhury The bebop style of jazz is a pivotal invention in twentieth-century American popular music - an outgrowth of the rhythmic and harmonic experiments of young African-American jazz musicians. At first a source of controversy because of its unorthodox approach, bebop eventually gained widespread acceptance as the foundation of "modern" jazz, and it continues to influence jazz musicians. The process of its creation was solidly grounded in New York City. Because of its emphasis on improvisation, jazz has maintained a strong tradition of creative invention throughout its history. This tradition has encouraged jazz musicians to cultivate new musical ideas, based on innovative uses of harmony, rhythm, timbre and instrumentation. Jazz has thus encompassed a continually evolving diversity of individual and collective styles over the past century. The emphasis on improvisation has made live performance a crucial element of the innovation process. During the 1st half of the 20th century the available technology limited the length of the improvisations and live performance served as the primary showcase for jazz musicians' talents. Because performance opportunities for the most talented musicians were concentrated in the entertainment districts of major cities, the creation of new jazz styles became strongly associated with places, such as New Orleans, Chicago, Kansas City, and New York City. Bebop emerged during the 1940s as a reaction “Swing” and as an expression of artistic innovation within a community of younger African-American jazz musicians. Certain jazz clubs in Harlem provided a setting for experimentation that culminated in the bebop style. The style's subsequent popularization occurred in jazz clubs in midtown Manhattan, at first along 52nd Street and later on nearby sections of Broadway. -
Oral History Center University of California the Bancroft Library Berkeley, California Frank Fisher Frank Fisher: Trumpet Play
Oral History Center University of California The Bancroft Library Berkeley, California Frank Fisher Frank Fisher: Trumpet Player, Songwriter: A Long Career with Junius Courtney, Raiders, and 49ers Bands Interviews conducted by Caroline Cooley Crawford In 2016 Copyright © 2020 by The Regents of the University of California Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1953 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* All uses of this manuscript are covered by a legal agreement between The Regents of the University of California and Frank Fisher dated September 23, 2020. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. -
The Whitfield "Whit" Bryant Story
The Whitfield "Whit" Bryant Story by Opal Louis Nations Very little has been written and is indeed known about black musicians whose lives intersect directly with the Seventh Day Adventist Church. The Adventists believe in keeping Sabbath on a Saturday and in their music, black quartet in particular, hold to a well mannered choral style akin to that sung by Afro American Baptist groups during the 40s. The Adventist Church also encourages the aspiring gospel soloist to go out and spread the word at all its affiliated churches. One such singer is "Whit" Bryant who in 1990 after more than 45 years away from the tenets of his church felt the need to go back, be in touch with his roots. "Whit's" rebaptism took place at The Ephesian Church of Berkeley on King and Harmon. In recent months, "Whit," his voice as fine as ever, has rehearsed with an Adventist gospel quartet under the direction of Elder Walter Kissack, formerly of The Southern Harmonians of Oakwood, Alabama. The group hopes to perform on their own local church circuit very soon. They rehearse regularly, three days a week. Whitfield "Whit" Bryant Junior was born into a large musical family in Oakland on October 27, 1927. His grandfather, Frank D. Withers, a noted jazz composer and trombone player, is alleged to have introduced jazz into the former Soviet Union. Whit grew up both in Oakland and Los Angeles. As a third-generation Adventist, he attended the church and school of the San Francisco Junior Academy. Whit was _________________________________________________________________ Whitfield “Whit” Bryant, p./1 © 1993 Opal Louis Nations blessed with a soft, graceful high tenor voice which he used to the full in the Philadelphian Seventh Day Adventist church choir, one of the first aggregations to sing at the Mt. -
Paolo Shoes Is Staying on Fillmore by Chris Barnett
■ INSIDE ■ NEWS ■ FILM Letters 2 Paolo Shoes A Filmmaker’s Street Talk 3 Crime Watch 4 Gets a Reprieve Coff ee Passion New Neighbors 5 Lease on a key corner Premiering this month, Film 7 extended for two years a story born on Fillmore Home Sales 14 PAGE 3 PAGE 7 THE NEW FILLMORE SAN FRANCISCO ■ APRILJUNE 20142010 The Story OF THE Fillmore Th ree Cataclysmic Events Transformed the Neighborhood By Gary Kamiya geologist would call the block of Fillmore Street between Post and Sutter a A“triple junction.” It’s one of those three- way collisions where a swanky part of town crashes into a seedy one, while a completely diff erent quarter sideswipes both of them. In 1974, my cousin Jonathan and I were house-sitting four blocks away at Pine and Buchanan, in a majestic, decaying Victorian with a big psychedelic mandala painted in an alcove. We didn’t know it at the time, but our building was a weird precursor to the Summer of Love. In 1965, that stretch of Pine Street had been a pre- Haight hippie scene, with half a dozen houses fi lled with longhairs and deal- ers. Th e downstairs unit had been home to the legendary hippie newspaper the Oracle. Across the street, at 2111 Pine, a rooming house once stood; some of the itinerant musicians there played in a vanished after-hours jazz club three blocks away called Bop City. Th e room- ing house was managed by a guy named Bill Ham, who invented psychedelic light shows. Our block was mostly black and pretty run-down. -
Donaldson, Your Full Name and Your Parents’ Names, Your Mother and Father
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. LOU DONALDSON NEA Jazz Master (2012) Interviewee: Louis Andrew “Lou” Donaldson (November 1, 1926- ) Interviewer: Ted Panken with recording engineer Ken Kimery Dates: June 20 and 21, 2012 Depository: Archives Center, National Music of American History, Description: Transcript. 82 pp. [June 20th, PART 1, TRACK 1] Panken: I’m Ted Panken. It’s June 20, 2012, and it’s day one of an interview with Lou Donaldson for the Smithsonian Institution Oral History Jazz Project. I’d like to start by putting on the record, Mr. Donaldson, your full name and your parents’ names, your mother and father. Donaldson: Yeah. Louis Andrew Donaldson, Jr. My father, Louis Andrew Donaldson, Sr. My mother was Lucy Wallace Donaldson. Panken: You grew up in Badin, North Carolina? Donaldson: Badin. That’s right. Badin, North Carolina. Panken: What kind of town is it? Donaldson: It’s a town where they had nothing but the Alcoa Aluminum plant. Everybody in that town, unless they were doctors or lawyers or teachers or something, worked in the plant. Panken: So it was a company town. Donaldson: Company town. For additional information contact the Archives Center at 202.633.3270 or [email protected] Page | 1 Panken: Were you parents from there, or had they migrated there? Donaldson: No-no. They migrated. Panken: Where were they from? Donaldson: My mother was from Virginia. My father was from Tennessee. But he came to North Carolina to go to college. -
Unacclaimed Great
Haymer An 'Unacclaimed Great' By GEORGE HOEFER of a large orchestra playing a Another instrument, the tenor -axophone of Herb Haymer, sweet arrangement He was able 1» gone from the inner circle of unacclaimed greats in jazz to improvise n series of hot cho music- Unlike (roodman, Armstrong, Teagarden, and other ruses of dynamic intensity or ace instrumentalists who have led their own bands to fame. play beautifully intoned phrases. Kay Asks $50,000 His fine ear, chord sense, in ■he in«h ■■■ the inner circle, like* . — - musician a musician. herent beat, and originality per tazóla and Haymer, are famous to — . Haymer’s unique musical talent mitted him a rich style. A note musicians only. Herbie Haymer made him equally at home in a worthy economy of notes further possessed all the attributes of a jam session or in the reed section (Modulate to Page 13) From Bop City Ops By JOHN S. WILSON New York—Monte Kay, whose intrmluction of bop and accompanying gimmicks at the Royal Roost helped change Ö. that spot from a struggling chicken joint to an operation so 3M successful its policies were imitated across the country, is preparing to bring suit for $50,000 against the operator* of Bop City for allegedly easing him out of his interest in th* new local bop mecca. Fire Wrecks VOL. 16—NO. 10 CHICAGO. JUNE 3. 1949 Ralph Watkins, one of the oper (Copyright, 1949, Down Beat, Inc.) ators of Bop City, says Kay was let out because there wasn’t any- Monroe Bus thing for him to do at the spot. -
Landmark Designation Report
LANDMARK DESIGNATION REPORT Marcus Books / Jimbo’s Bop City 1712-1716 Fillmore Street City and County of San Francisco Planning Department Landmark No. Edwin M. Lee, Mayor John Rahaim, Director XXX TABLE OF CONTENTS page OVERVIEW 2 BUILDING DESCRIPTION 4 HISTORY 8 Julian and Raye Richardson 8 Black Bookstores 10 Jimbo’s Bop City 13 Building Construction and Occupancy 17 Government Intervention and Community Response 18 ARTICLE 10 LANDMARK DESIGNATION 24 Significance 24 Integrity 25 Boundary 26 Character-Defining Features 26 Property Information 27 BIBLIOGRAPHY 28 ACKNOWLEDGEMENTS 29 The Historic Preservation Commission (HPC) is a seven-member body that makes recommendations to the Board of Supervisors regarding the designation of landmark buildings and districts. The regulations governing landmarks and landmark districts are found in Article 10 of the Planning Code. The HPC is staffed by the San Francisco Planning Department. This draft Landmark Designation Report is subject to possible revision and amendment during the initiation and designation process. Only language contained within the Article 10 designation ordinance, adopted by the San Francisco Board of Supervisors, should be regarded as final. 2 Marcus Books/Jimbo’s Bop City 1712-1716 Fillmore Street Built: c. 1893 Architect: Unknown OVERVIEW 1712-1716 Fillmore Street is significant for its association with Marcus Books, the nation’s oldest continuously operating, independent Black-owned and Black-themed bookstore.1 Marcus Books is located at the street level of a two-story-over--raised-basement Stick-Eastlake building, constructed c. 1893. The bookstore was founded by Julian and Raye Richardson in 1960, as an outgrowth of the family’s printing business, the Success Printing Co., which they established in 1947, shortly after settling in San Francisco. -
Guide to the Herman Leonard Photographic Collection, 1948-1993
Guide to the Herman Leonard Photographic Collection, 1948-1993 NMAH.AC.0445 David Jellema and Scott Schwartz December 2, 1993 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 1 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 2 Container Listing ............................................................................................................. 4 Series 1: 11" x 14" Prints, 1948-1991...................................................................... 4 Series 2: 16" x 20" Prints, 1948-1991.................................................................... 11 Series 3: Addendum 16" x 20" Prints, 1948-1991................................................. 15 Herman Leonard Photographic Collection NMAH.AC.0445 Collection Overview Repository: Archives Center, National Museum of American History Title: Herman Leonard Photographic -
Making America's Music: Jazz History and the Jazz Preservation
Making America’s Music: Jazz History and the Jazz Preservation Act Jeff Farley Department of American Studies University of Glasgow A thesis submitted for the degree of Doctor of Philosophy July 2, 2008 c Jeff Farley 2008 Abstract The aim of this thesis is to investigate some significant examples of the process by which jazz has been shaped by the music industry and government and their ideas of the place of jazz within American culture and society. The examples demonstrate that the history and traditions of jazz are not fixed entities, but rather constructions used to understand and utilise issues of race, national identity, cultural value, and musical authenticity and innovation. Engagement with such issues has been central to identifying jazz as America’s music, as it earned this status from its worldwide popularity and its identity as an inno- vative black American art form. Recognition for jazz as American music, in conjunction with its improvisational nature, consequently led to the identification of jazz as ‘demo- cratic’ music through its role in racial integration in America and in its representation of American democracy in government propaganda programmes. The different histories of jazz and its status as democratic, American music have all been especially important to the development of House Concurrent Resolution 57 in 1987, referred to as the Jazz Preservation Act (JPA). Authored by Congressman John Conyers, Jr. of Michigan, the JPA defined jazz as a ‘national treasure’ that deserved public support and inclusion in the education system. Few in the industry have criticised the recognition and public subsidy of jazz, but many have found fault with the JPA’s definitions of jazz and its history that have dictated this support. -
LAJI/Bebop Brochure Final
Presents GROOVIN’ HIGH A Celebration of the BeBop Era MAY 24 - 27, 2001 Box 8038 The Crowne Plaza O. P. THE LOS ANGELES JAZZ INSTITUTETHE LOS ANGELES JAZZ Long Beach, CA 90808-0038 Redondo Beach & Marina Hotel GROOVIN’ HIGH The Los Angeles Jazz Institute is pleased to announce CONVENTION FACTS Groovin’ High-An All-Star Celebration of the Bebop Era taking place May 24-27, 2001 at The Crowne Plaza Hotel DATES in Redondo Beach, California. May 24-27, 2001 Groovin’ High promises to be one of the most outstanding jazz gatherings to ever take place in southern California. We are fortunate in being able to bring together most of the living giants PLACE of the bop era. The primary period that we are focusing on is The Crowne Plaza 1945-1950. This was one of the most important periods in the Redondo Beach & history of jazz due to the brilliant musical revolutions that exploded Marina Hotel during those five years. A number of concerts have been designed 300 North Harbor Drive featuring musicians who were part of the bebop revolution as well Redondo Beach, California as several repertory concerts performing important music from the 90277 era. There will also be film showings and panel discussions where the story of modern jazz will be told by the artists who created it. The special convention rate Full Registration is $300 if you order by April 15. is $134 per night. After that date, the full registration price will be $350. Hotel stay not included Full registrants will have reserved seating for all concerts. -
Kenton Grabs Early Poll Lead
Kenton Grabs Early Poll Lead ♦ Chicago—Very early returns in the 1950 Down Beat band poll show several new faces rising to contending positions in the various classifications, and the 1947 band winner, Stan Kenton, coming back to take a slight lead over Woody Herman, winner Im* year in a walk- COMBO—VOCAL All these results are baaed on se scattered returns, however, and Mills Brothers 33 several changes may be expected StaHiahten VOL 17—No. 24 CHICAGO. DECEMBER I. 1950 in the final tabulations. (Copyright, I9S0, Dowa Boot, lac.I Bring* Sidemen Along 10 Kenton, who finished fourth last year, leads Herman by a scant 31 votes, but also has several of his Golden Gale Quartet .. Ralph Flanagan Tries His Hand At Nick's sidemen at or near the top. Surprise first on trumpet is Chor detien .............. Maynard Ferguson, Stan’s high Delta Rhythm Bey* note specialist, leading Miles Davis by a slight margin, followed by Louis Armstrong and Dizzy Gilles pie (voters this year are allowed MALE SINGER—NOT BAND to name any favorite, whether or Billy Er he I Ine ms not he is a leader). S3 Kenton drummer Shelly Manne 36 Frankie Laine 36 and arranger Pete Rugolo, plus vo Frank Sinatra calists Jay Johnson ana June Bind Crosby Bill Farrell Christy, also lead in their divisions. 18 18 Harri. leads 12 Bill Harris jumped to a com manding lead on trombone, with Tommy Dorsey and Kai Winding Doi in the place and show spots. Buddy DeFranco, Count Basie clarinetist, leads Benny Goodman GIRL SINGER—NOT BAND and Woody Herman.