By Bobby Dodd
In a small downtown, northwest barbershop, four men in their mid-sixties arm themselves for regular, heated battles over whether Ella Fitzgerald or Sarah Vaughan was the better vocalist.
By most standards, the place is a dump - so authentic that it's almost a clichÃÂÃÂÃÂé. Walls are plastered with polaroids of children and grand children by regular customers and homemade signs state "No Credit!" and "No Cursing!!" allowed. One whole side of the rented room is lined with mismatched waiting chairs and tables filled with Ebony, Jet, and Black Enterprise magazines donated by customers. A broken soda machine requires thirsty patrons to pay barbers directly and take their pick of generic sodas refrigerated in the back of the shop. A retired shoe polishing chair would surely cause too much of a strain on any of these old men's backs, despite their offers.
Always eager to participate, my years of fanatical wisdom and hundreds of CDs and vinyl records that lined my apartment walls granted me little credibility over my age. When they see me - they see their grandsons. I am all but patted on the head and "ssh'd" so that "grown folks" can continue their conversation. I pout and persist ÃÂÃÂÃÂÃÂ
and return every other Saturday.
Nicknamed "The Black Hollywood" by many, Washington DC's historic U street rose to fame during the birth of jazz from ragtime music. U Street became a stomping ground for jazz artists and enthusiasts all over. Home to Pearle Bailey, Billy Eckstine, Duke Ellington and Sarah Vaughan, DC streets are haunted by jazz legends.
In 1910, the Howard Theatre, designed by J. Edward Stock, was the nation's first theatre to showcase black entertainers for black audiences. Later, 1922 witnessed the birth of the Lincoln Theatre and Colonnade that hosted many of jazz's great big bands. The African American managed establishment was frequented by an array of public figures that included Elenor Roosevelt and Sterling Brown.
Tourists and residents bored by the shallow, seductive lures of pseudo European cafes, nightclubs, haberdashers, and "spirit" shoppes will be thrilled by DC's jazz venues.
Washington DC remains heavily seasoned with jazz nightlife throughout it's quadrants and continues to breed jazz artists and serve as a place of refuge for jazz celebrities like Wynton Marsalis, Nancy Wilson, and Dr. Billy Taylor.
Many of DC's jazz venues skip the frills offered by larger performance institutions with bigger bank accounts. Musicians and audiences are forced to check their egos at the door. DC is where real musicians come to play and real fans come to listen. Crowd members who interrupt sessions with cellular phones and/or cameras may get the hell beat out them in a back alley.
"District Jazz" will provide visitors with a complete guide into the DC's jazz community with links to clubs, educational resources, and reviews of live performances.
If you have specific questions about the jazz scene in DC or surrounding areas, feel free to shoot me an email.
DC Jazz Clubs:
DC Jazz History
Duke Ellington's Washington - http://www.pbs.org/ellingtonsdc/
Additional Jazz Suporters and Resources:
Hidden Treasures
Because I believe that no one has better taste in Jazz than I do, I have generously decided to use my talents for the benefit of humankind. Once a month, I will provide some of my top picks for those looking to develop their jazz collections into the envy of their social circles (unless they are also visiting this page). I am also available for counseling via email.
- Jimmy Scott, "All The Way"
- Miles Davis, "Kind of Blue"
- Billie Holiday, "Lady In Satin"
- Dinah Washington, "For Those in Love"
- Wynton Marsalis, "The Midnight Blues"
