By Donald Van Deusen

The Philadelphia Music Alliance celebrated its 10th anniversary of its "Walk of Fame" on South Broad Street last September with the addition of nine more names added to its bronze plaques there honoring local music artists. This was headlined and heralded here by the local media as "more music luminaries" being "singled out." for recognition. These "music luminaries" included such "stars" as Mike Douglas, the well-known TV talk and variety show host who joined such earlier "music luminaries" as Ed Mc Mahon, who made a career out of laughing at Johnny Carson’s jokes. Once again, this august group at the Alliance ignored such clearly major Philadelphia jazz historical figures as South Philadelphia’s jazz violinist, Joe Venuti.

Ignoring Venuti, identified in Leonard Feather’s industry bible, The Encyclopedia of Jazz, as the world’s first jazz violinist (who was born on the boat coming from Italy in 1904 and grew up in South Philadelphia) did not necessarily surprise true local jazz buffs. The Alliance had managed to ignore his boyhood friend, Eddie Lang, indisputably, the first internationally known jazz guitarist, until 1992 It also overlooked Charlie Ventura who made jazz history working with Gene Krupa, among others, until just a couple of years ago. It may finally include Venuti this year, but if it does it’s only 10 years too late.

For some inexplicable reason, many concerned with highlighting Philadelphia’s "jazz history" can’t seem to think any further back than John Coltrane. In a city whose own history goes back to the very start of this country such a narrow focus defies understanding. Philadelphia has, of course, a rich jazz history, with more native talent than many towns that make far more hay out of what few native stars they do have. Philadelphia not only has a singular talent for ignoring its native jazz greats, but for trumpeting instead people who seemingly just changed trains here on the way to New York. Billie Holiday, often cited for her Philadelphia connection made perhaps the ultimate put-down of the town. She reportedly said, she didn’t care when she died if she went to Heaven or Hell as long as she didn’t have to change trains in Philadelphia.

This writer, along with many others, kept after the Music Alliance to admit Eddie Lang. Getting admitted requires the artist names and qualifications being submitted to the Alliance for their consideration. The decision-making process (e.g., who gets in) takes place in a vote "behind closed doors" I was advised by the Alliance Program Director Mary Ann Grisz. Making their choices "behind closed doors" is undoubtedly a sound idea considering some of the names that are selected. At any rate, I am submitting this column as a recommendation for recognition of Joe Venuti so that this major American jazz star can finally get "his star" on Broad Street.

Joe Venuti, a classically trained violinist who switched to jazz, worked and recorded with Paul Whiteman, the Dorsey Brothers, Bing Crosby, Red Nichols Tommy Dorsey and just about every major jazz figure from the 1920’s on. His "Venuti’s Blue Four" recordings with Eddie Lang are recognized jazz classics. He was elected to the Downbeat All-Time Swing Band in 1936. He led various jazz groups in later years including one that featured a just-starting young jazz singer named Kay Starr.

Venuti’s legendary (some would say outrageous) sense of humor shown through in the joy of his instrument in much the same way that Fats Waller’s humor did. Everyone sounded better and, certainly happier, when they worked with Venuti.

One of Venuti’s most infamous gags was when he called up 26 tuba players in Hollywood and told them about a gig in town that he just made up. They all showed up for the non-existent job, but Venuti ended up having to pay for it when the union found out about it. His playing was easily more engaging than his sense of humor.

It’s doubtful that Venuti would much care about being left out of Philadelphia’s "Walk of Fame." He would probably create some joke about it. People like Venuti weren’t concerned with awards for their role in jazz history. They were too busy making it.