There are a myriad of reasons that Miles Davis is the inspiration for this post. However, one trait that stands above the rest for me is that Miles was never afraid to be Miles. Now you may ask yourself(cue Talking Heads) what does this have to do with Black History Month? Everything.

No one makes history by following the status quo, no one. Miles Davis always pushed his music forward, never comfortable, always searching for innovation and above all else never listening to “critics”. When I first became aware of the music of Miles Davis I was a kid in the 80′s listening to those great records he made with Marcus Miller, which (you guessed it) are often criticized by folks who wanted Miles to continue to wear Italian suits and play “My Funny Valentine” nightly. Miles Davis always had an answer for critics and it usually began with the 6th letter of the alphabet and ended with the 21st. (more…)

Originally posted Feb 1, 2010 I wanted to revisit this concept yet again this year…

As frequent visitors to GFM know this organization consistently and constantly embraces the philosophy of “Bridging gaps”. Whether these “gaps” take the form of generational, musical or technological; GFM is committed to ensuring that the lack of knowledge or awareness (that are usually at the core of these “gaps”) are addressed with the proper historical, cultural and social context needed to symbolically close them.

On a personal note, I am an avid viewer of documentaries, I have been since I can remember. Recently, I cannot tell you how many that I have watched and I sit in amazement when the same declaration is made almost verbatim: “Hip-Hop is a global phenomenon.” Yes it is, I’m sure we can all agree on that point. But my point of contention is not what is said but what is implied by how it’s said.

That particular statement is made as if Hip-Hop is the first and only African-derived music to have such status. Sorry to say and sad to report, it’s not. Further, not only is it not the only African-derived music to receive that type of acclaim but African-American musicians performing European-derived music received international acclaim in the 19th century. I say all this to say that global acclaim for the African-American musician is nothing new.
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Francis “Frank” Johnson is what l like to refer to as the great-great grandfather of “Philly Soul”. Born in Philadelphia 1792 (some scholarship cite Martinique as his birthplace), Johnson was a multi-instrumentalist playing violin, bugle and many other instruments. Johnson was the first African-American composer to be published in the United States(1818). I should probably repeat that year: 1818.

Frank Johnson’s band was the toast of Philadelphia Society and played for numerous cotillions and government events during the Antebellum period. This band even toured Europe in the 1830′s.

Throughout his entire career Johnson remained active in the African-American community through conducting orchestras at local churches and even dedicating a piece to the independence of Haiti. Frank Johnson often faced incredible racial persecution during his career. Everything from white bands refusing to march in the same parades to being followed by mobs hurling racial threats and the ever present threat of violence. Frank Johnson died in 1844 after an extended illness.

I wanted to provide a copy of one of his published works for us to consider how remarkable an achievement this was given the time that Frank Johnson was an active composer. I don’t want to get on soapbox here but I am amazed and saddened that having been a lifelong musician the first I ever heard of Frank Johnson was in my next to last semester in college.
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