Philadelphia Weekly

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Photographs by Jeff Fusco

You'll never see me going into or coming out of the Spaghetti Warehouse down low on Spring Garden Street. I'm sure they have good food and a great atmosphere. But the Spaghetti Warehouse stands at the site of the former After Midnight Hip-Hop Night Club and Entertainment Complex, the place to be for hip-hoppers in the mid-to-late-'80s.

After Midnight boasted a skating rink, a dance floor and a movie theater. Up on the stage stood MCs like Fresh Prince and Schoolly D, and new talent, like Biz Markie, Big Daddy Kane and LL Cool J.

When the club closed its doors, I took it personally. I wish I had a place to hang out today that was half as fun. Now, sadly, history has repeated itself with the closing of Black Lily at the Five Spot.

Every Tuesday night Black Lily showcased female soul singers, rappers and poets on the Five Spot's main stage. On Feb. 15, 2005, the stage for Black Lily-which had been for the neo-soul movement what After Midnight was for hip-hop-permanently went dark.

For most of Black Lily's six years, Ryva Parker served as host, but the end came suddenly even for her.

"I get there, and Rich Nichols is telling me it's shutting down," Parker recalls. "He didn't even call me to let me know that it was coming to an end. Or why."

Nichols, who manages the Roots and Jazzyfat-nastees, says the decision to close was economic. "People don't know that it cost me more than $100,000 a year to run it," he says. "That was money that wasn't being recouped with the $5 cover charge. It's okay, because we didn't start it necessarily to make money."

Black Lily started in 1999 as a forum for female performers who'd previously been marginalized at local open mikes. "The Jazzyfatnastees-Tracey Moore and Mercedes Martinez-got $150,000 for touring and marketing on their first record deal," Nichols says. "They could've added it to their video budget or put it in their pocket or whatever. Instead they decided they'd develop a place for females to be able to take the stage and develop their talent. That money went to pay the band, different performers, light and sound people. They had the vision to experiment to see if people would support real music."

The experiment paid off. "Originally we were doing Black Lily at the Wetlands in New York and here in Philly at the Five Spot," says Nichols. "In both cases we wanted to give people a break from the bullshit that was being played on the radio. We just wanted to create a place where artists could come in and play instruments, and vocalists could play with a band. We booked the same talent week after week in hopes that they'd get better."

Jill Scott and Kindred were among the first to bond with audiences at Black Lily, and Floetry performed there just after arriving from London. For only a few bucks you could catch Musiq Soulchild or Jaguar Wright.

What the singers, drummers, poets, horn players and other musicians there had in common was a desire to perform live and make an audience connection. Black Lily struck a balance between talent and the energy of the unexpected.

"It's why we really didn't advertise," says Nichols. "We wanted the artists to be free to experiment without worrying about pleasing a particular audience. Some nights the shows would be great; some nights they'd suck."

Word of Black Lily spread beyond Philly. Stories appeared in the national press, including The Source and Vibe. If you were in town on a Tuesday night, the Five Spot was the place to be.

In the end, says Nichols, it wasn't just the expense that led to Black Lily's demise. "What killed it was lack of support and arguments over the bookings."

The quality of the shows suffered, says Nichols. "The night I shut it down, the show sucked, the atmosphere sucked. It was so far away from what we envisioned six years earlier. The acts were shitty, and basically people at the bar were just getting their drink on."

Nichols admits there was frustration with the bigger names. "I'm not saying you had to kiss our ass, but a lot of artists were helped by the Lily. Everybody wanted to be paid. We couldn't even keep the house band together, 'cause they'd get better gigs and move on."

Today, says Nichols, people are supporting artists like 50 Cent and Ciara. "Music sales for quote-unquote 'neo-soul' artists have been falling. When Black Lily came out, people were starving for music-driven songs. Maybe now isn't the time."

The Five Spot still shines on Tuesday nights with a new weekly called Soul Power.

"I could never disrespect what went on when the Lily was here," says longtime show promoter Bunmi "Boom" Samuel. "But we're doing things differently. We want people to get used to expecting to be surprised and pleased."

The Black Lily will be remembered for the people, the atmosphere and the talent, all of which was raw, real, honest and good. It wasn't prefab, prepackaged or commercial. It was a place where you saw musical art as it was created.

DJs spun classic breaks, bands made up of musicians of all genres blended with hip-hop MCs, and poets who blended with vocalists learned to sing. It was like knowing Barry Bonds was going to hit a home run-you just didn't know if he'd use a baseball bat or a golf club.

Flower Power

Philly musicians speak out about the Lily.

JILL SCOTT
Best known for: Her first platinum album Who Is Jill Scott? Words and Sounds Vol. 1.
Not everybody knows: Her name was big in Philly for poetry before she signed to Hidden Beach Recordings.
Currently: Fans of Jill Scott's music are enjoying her book of original poetry: The Moments, the Minutes, the Hours. Scott's fans are also flocking to see her with Queen Latifah and Erykah Badu on this summer's Sugar Water Festival tour, which visited the Tweeter Center last weekend.
How she remembers it: "The first time I went to Lily, I performed some freestyle songs, and some written stuff too. I actually did my first Lily show at the New York venue, which was a big deal to me at the time. Along with myself, that night showcased the Jazzies, Flo Brown and Jaguar. It's extremely important to have a place for female artists to cultivate their craft. All kinds of women hit the stage-no particular size or style. All kinds. People seemed to notice the talent-or lack of-before anything else. So we all came at the same level: hungry artists. In the beginning, every night was magic. We didn't even know if anyone would show. We had no idea what the reaction would be. It was thrilling. The last time I went, it was different. The vibe felt created-not organic, the way I remember. So many big-name artists and producers had come through. It appeared that people were there to get on or to see who was walking through the door. I'm not saying we didn't go and perform-'cause we did. But the biggest reason to be at the Lily was to be a better artist. We tried new styles. There was a real sense of family. It was a black women's renaissance."

MERCEDES MARTINEZ
Safe to say: There might not have been a Philadelphia neo-soul scene without her.
Little-known fact: She and fellow Jazzyfatnastee Tracey Moore invested her money into founding and maintaining the Black Lily.
How she remembers it: "Tracey and I were signed to our first record contract at MCA in 1999. It was obvious that because our style of music was different, and there was nothing like us at the time on commercial radio or TV, the record company wasn't going to give us a proper promotional package. We felt it would be more beneficial to take that money and invest in a select venue in New York and in Philly. We definitely appreciated what the Roots had done for us, bringing us along, allowing us to work on their LP Illadelph Halflife. We realized the necessity to open a venue for others in the city, to do what had been done for us. We were kicking around names for a while, and we thought, 'This is going to be a showcase for acts out of the mainstream.' You always see white lilies, but never a black lily. We felt the name reflected the vibe of expecting the unexpected. I hope it'll be remembered for being a place that brought together different combinations of music and talent. It was unheard of at that time to see a rapper like Flo Brown working with a live band. There were all kinds of great collaborations done right on the spot. It was a place where you could see artists just about to blow up. We are immensely proud of the quality we brought to the stage. It was a much more valuable investment than the $150,000 we originally put up to get it started."

DJ JAZZY JEFF
Of course he's best known for: Being half of the Grammy-winning hip-hop group DJ Jazzy Jeff and the Fresh Prince.
Little-known fact: His 12-inch single "Touch of Jazz" is one of hip-hop's rarest recordings.
Cred: Grammy-winning artist, a successful producer for many of the artists who appeared at the Black Lily, and one of the universe's best DJs. How he remembers it: "Ryva was the host at the time. That's my girl. The show was incredible. Kindred was there, Jill Scott. It was an open jam session where artists just let loose. I wish I could've spent more time there. It was the scene, the heart of it, and it will be missed. It was ours, a grooming place for Philly artists, where you worked out your show before you took it on the road. It was our generation's Uptown Theater. I told Puffy about the Lily, so he made me take him there. He saw Kindred, and fell in love with them. It was great to have something from my own town to show him. I had braggin' rights."

MUSIQ SOULCHILD
Best known for: Several hit singles.
Currently: Working on a new CD due out in September.
How he remembers it: "Well, at the time I think Jill was the only one to have gotten a record contract. I believe her first album wasn't out yet. A friend of mine told me about this spot where artists could come and perform. There really wasn't a lot of pressure because it hadn't been known as a spot where people were discovered yet. Young people need their own space. The Lily was beautiful not because of who got famous but because it gave us a professional spot to shine in. There's no place where high school kids who are also talented musicians can be showcased. I like to be a part of a movement that gives kids a venue to learn and grow as performers, and then open it up to all kinds of performances. Musicians and poets, of course, but actors could take the stage and work on their craft, and get instant feedback. Entertainers need that kind of space. It doesn't exist right now, but I want to see it."

FLO BROWN
Mentioned: By every single person interviewed for this article.
Website: flobrown.com
Why she left Black Lily: She wanted to focus on making records.
How she remembers it: "You had females blazing spoken word, singing rich, full original soul music. I was doing hip-hop. It was a one-of-a-kind experience. At the time I was attending Howard University and working in an office part-time. I happened to see the website okay player.com, and saw that Mercedes and Tracey were doing a showcase in New York and Philly. When I got home I called Mercedes and said, 'Yo, I really want to audition for y'all.' I went to Philly and auditioned, and the next thing I'm part of the original Black Lily sets at the Wetlands and the Five Spot. It was a great learning experience, just to have that opportunity to work a crowd in New York and Philly. Ultimately I got great exposure. I got to represent my hometown, Brick City [Newark, N.J.], and I took that experience as far as I could. I left only because I needed to explore my desire to have a successful recording career."

FATIN DANTZLER
Best known as: Half of the Hidden Beach Recordings group Kindred. He's a husband, father and singer/songwriter.
You may have seen him: In the video for the hit single "Far Away," or at the Black Lily any number of times.
Currently: Can be seen in his West Philly store the Kulture Shop, which sells one-of-a-kind fashions. He and his wife Aja are also in the studio wrapping up their second LP In This Life Together, inspired by the autobiography of Ruby Dee and Ossie Davis.
How he remembers it: "Before there was a Black Lily, Ahmir from the Roots and a bunch of us used to play at Ahmir's house. It started off as jam sessions. I saw the Lily grow like a baby from a no-big-deal thing with my people to an event we did from time to time at the Wetlands in New York, to this beautiful baby we had for the world to appreciate. When we started we didn't see the Black Lily as a way to be discovered or to get famous. Everyone was talented and had their own style of performance. What the Lily gave us was an outlet. Everyone got the same thing out of it: a place to play and build on their talent and learn how to work an audience. The concept that brought us together will always be fresh and exciting. The audience was the most instrumental part of our experience. Their support built our confidence. The audience was knowledgeable. They weren't fooled by what an act looked like or what passed for music on the radio. They would let you know if you weren't ready as a performer. Likewise, they'd welcome you back and encourage you to get better. They'd let you know when your music/vocals/presence was tight. What made the audience from the Lily unique is that our talent grew and developed right here in our home. Our audience was authentic because we all came from the same place. When Jill Scott and Jaguar Wright became successful, the audiences who supported the Black Lily shared in their success."

STEPHANIE RENEE
Some of the hats she wears: Poet, singer/songwriter, businesswoman.
You may have seen her recently: Hosting the Groove, an eclectic jam session of all types of music, spoken word and various other expressions at West Philly's Rotunda.
Little-known fact: She appeared with friend Jill Scott in a Vibe magazine photo a few years ago.
How she remembers it: "I sang background with the Jazzies when they first conceived the Black Lily. They enjoyed the experience of being a feature artist for an all-female showcase. They wanted to create something that had more of an urban edge. I remember standing at my first Black Lily show feeling very proud that these talented women could make their vision become a reality. Not long after that I was performing my own poetry and music on that stage. Black Lily was crucial in establishing Philadelphia as a true cultural center. It provided a live performance mainstay to accompany all the successes people were having on the recording tip. It drew some necessary attention to all the hard work that underground artists were doing and are doing in this city. The industry and the media had ignored what was happening here until Jill hooked up with the Roots, and Black Lily took off. So Black Lily was a vital link in legitimizing the Philly music scene."

SAFA ALSTON
Currently: Building her audience one performance at a time.
You may have seen her at: The Black Lily, other Five Spot shows and the African American Museum in Philadelphia.
How she remembers it: "I was extremely nervous. I knew the Lily had a reputation for bringing fire to the stage, and I didn't want to disappoint. I got up onstage with the house band and attempted to freestyle. The band decided to have a competition, seeing who could play the best rather than trying to flow with what I was singing. It wasn't the best experience in the world, but I was excited to have been on the Black Lily stage. I was actually asked back, and that time I brought my own band, and we definitely 'wrecked shop.' The crowd loved it. And most important, I loved it. It's nice to have a place we can call our own. The Lily offered an alternative to coed showcases and allowed women to release some of the potency of their femininity. The Lily was a place you could go and know you were going to get a good helping of soul. Knowing that Jill Scott used to perform there and that Floetry used to rock the stage there showed us that the Lily was the place to get that breath of fresh air needed because of the smog we breathe in from the radio every day. The Lily was another place to get inspiration and motivation-watching talented women pour their souls onto the stage, and seeing there are other people into the same things as you. It was an excellent place to be if you were an inspiring artist, manager, musician or just a music lover, period. The Lily gave birth to some of our favorite artists, and gave us hope that we'd get more."

ALMA HORTON, aka LADY ALMA
Her clout: Lady Alma headlined at the Black Lily for six months straight. She'll be performing at Penn's Landing on July 29.
How she remembers it: "I started off as a spectator. At the time I wrote and sang myself. Then one night I saw Jaguar Wright take the stage. She just blew the place apart. Her set made me want to be more than a singer/songwriter. She made me want to become a performer. Seeing how the crowd reacted to good music made me want to perform at the Lily. That first night was like eating candy for the first time. Getting out there onstage to express myself was like kissing a boy you really liked. The crowd was so supportive. I mean, they'd be supportive and appreciative of average talent. So when I'd get out there and shine, they'd really give me love. We needed each other. The intimate setting was so right. You could see the people in the audience week after week. Some would even bring their friends back to see you. When the Lily stopped, the music community was hurt. We've tried to heal and keep that spirit alive, but there will never be another Black Lily."

Raymond Tyler (editmail@philadelphiaweekly.com) is a freelance writer from Atlantic City. He'll host the Wise Word Poets Wed., July 27, 7pm. Free. Robin's Bookstore, 108 S. 13th St. 215.735.9600. www.robinsbookstore.com