Author: Nicholas Sarris

When people hear the word Birdland, they often think of the world famous Manhattan Jazz Club. However, during the 60s and 70s Utica had its very own Birdland. While not as famous as its NYC counterpart, Utica’s Birdland stood at the center of the city’s African American music scene. In an era of immense racial prejudice, Birdland and its founder Dickie Frank broke barriers in Utica, paving the way for musical and social advancement in the decades to come. 

The history of Utica’s Birdland starts with its founder Dickie Frank. Frank was born in Utica on August 12th, 1931. As a young man, Frank lost his mother Marion Moorehand-Frank, and went into the custody of his grandmother. These humble beginnings hardly reflect his future as Utica’s first African American celebrity. 

Frank’s career began at the Utica Free Academy, where he rose to prominence as a star athlete. Alongside his brothers, Frank was a standout on the school’s basketball, football, and baseball teams. His fame only continued following his graduation from the academy. On January 5th, 1953, the Utica Police Department hired Frank as an officer. This move made history, with Frank being only the second African American officer in the city’s history. 

Frank’s career with the UPD continued for the next nine years before his retirement in 1962. Shortly after ending his police career, Frank began his new venture: a jazz club. This club, named Birdland, soon became an important stop for touring African American musicians. On top of hosting national musicians, it helped foster Utica’s own music scene. 

Birdland sat at the center of an already established African American tour route, known as the “Chitlin Circuit.” Extreme racial prejudices plagued the United States, especially the South for much of the early 20th century. Jim Crow laws segregated public facilities by race, lynchings were commonplace, and KKK membership had reached record highs. These factors made much of the US extremely dangerous for African American performers.

The earliest attempts to organize African American artists came in 1909. That year, vaudeville star Sherman Dudley founded an organization of safe venues for African American performers across the South. By 1914, it expanded to twenty theaters owned or operated by African Americans. This organization formed the basis for the Theatre Owners Booking Association (TOBA), founded in 1920. This organization had an integrated structure with ⅓ of its theaters being owned by African Americans.

For the next decade, TOBA booked Black jazz, soul, and vaudeville performers across the Eastern US – the only organization to do this. During its existence, TOBA was the only organization catering towards African American audiences in the South. This came to an abrupt halt in 1930 as TOBA, much like many other businesses, crumbled during the Great Depression. 

In its place, Denver and Sea Ferguson rose to prominence. The brothers sold their printing business to open clubs in their hometown of Indianapolis. By 1940, they expanded their business, founding the Ferguson Brothers Booking Company. This company soon grew into the largest black owned entertainment company, launching cross country tours. These tours spawned the Chitlin Circuit. 

Stretching from Boston to Texas, the Chitlin Circuit encompassed hundreds of venues friendly to African American performers. Among these venues were massive theaters, like Harlem’s Apollo, and small bars like Club Ebony in Indianola, Mississippi. This circuit helped fill a much needed desire for entertainment in African American communities across the US. 

On top of this, the circuit launched the careers of legendary jazz, soul, and rock artists. Billie Holiday, James Brown, Fats Domino, Aretha Franklin, and Otis Redding all regularly toured the circuit. One regular was a young Jimi Hendrix who remembered, “You really had to play, ’cause those people were really hard to please.…That’s where I learned to play.” Many times, performers were compensated with only meals, spawning the Chitlin Circuit’s name – deriving from a popular soul food. 

Dickie Frank’s Birdland sat at the Northeastern corner of the Chitlin Circuit. Located in Baggs Square, the club was just outside Utica’s downtown. From its start, the club grew comparisons to its New York namesake. A February 23rd, 1962 edition of the Utica College Tangerine reported, “The jazz gallery in New York City is more lavish, but Utica’s Birdland, well decorated, is less expensive.”

At its founding, Birdland was the only African American club in all of Utica, making it a clear choice for performers traveling through the city. Like many Chitlin Circuit venues, Birdland’s welcoming atmosphere drew crowds. Birdland was a place where everyone in the community could get together to enjoy music, regardless of their race, age or sexuality. As Utican Corky Logan remembers, “It was magnetic; an attraction. It was really friendly.”

“Musicians sense the friendly attitude, and consequently relax and play better. Believe me, word spreads about the conductive atmosphere”

Lawrence Jacksina, Utica College Tangerine, November 2nd, 1962

While Birdland welcomed all, it grew especially popular among the youth of Utica. Of special note were students at Utica College, who frequently featured Birdland’s programming in their school newspaper, The Tangerine. Throughout the 1960s, reviews of jazz performances were common features of the paper, frequently being front-page stories.

For years, Birdland sat at the center of Utica’s live music scene. Alongside venues like Thompson’s and Club George, Birdland attracted touring jazz performers from around the Northeast. Of the many fondly remembered acts are saxophonists Eddie Harris and Tina Brooks. While attracting crowds, these shows often highlighted boundary-pressing jazz performances. For example, the Utica College Tangerine reported on Eddie Harris’ December 13th, 1963 performance, saying, “Harris plays some things the average jazz fan would consider way out.”

On top of these national artists, Birdland was also a haven for local Utican musicians. Many artists, like keyboardist Rick Montalbano, got their start playing at the club. Montalbano fondly remembers the club’s keyboard. He noted, “The house Hammond B-3 was tweaked over the years by some killer organists and sounded like none I’ve played since.” 

For many, going to Birdland was a special occasion. Guests would don their nicest clothes and go to the club to hear the newest in jazz. In this way, Birdland acted as a melting pot for Utica’s music scene. Hearing influences from jazz musicians across the country, local artists were inspired in their own music. As Utica music legend Lynn Mishalanie recalls, “I went for the music; if it hadn’t been for Birdland and listening to the music, the live jazz and the famous people who came through, I wouldn’t be who I am today.”

Birdland remained a staple of Utica’s live music scene for eight fruitful years. Despite its growing popularity, Frank closed the club in 1970. With the closure of the club, Frank went on to pursue a career in public service.

As the inclusive environment of Birdland showed, Dickie Frank was always dedicated to social progress. While operating Birdland, Frank remained a deeply political man. A photo of Frank from 1969 shows him leading a march in memory of Martin Luther King, Jr. Frank stands at the forefront of the march, even preceding then-mayor Louis LaPolla. For the next few decades, Frank was a mainstay of Utica politics, regularly consulting with local politicians. He even sought office in the Municipal Housing Authority and District Council. While this career change seems drastic, Frank saw a clear connection to his work at Birdland. “Of course my background will help…I ran a nightclub and still have many personal contacts,” he said in 1971.

Even after reaching his sixties, Frank continued to break barriers. In the 1990s, he was appointed Dean of Students for Utica College, becoming the schools first black administrator. As dean, he spoke at a 2008 racial justice forum, saying, “To sit back and hate, or to feel like you don’t want to sit down with somebody and talk about their lifestyle, it’s not right.” He continued in his dedication to the community until his retirement to Florida in 2007. 

On November 9th, 2022, Dickie Frank died at age 91. Frank left behind an unshakable legacy as a boundary breaker and community icon. Even though it closed long ago, Dickie Frank’s Birdland is still fondly remembered by members of Utica’s music scene. It, much like Frank himself, stood at the forefront of social progress, all while fostering community ties that still hold Utican musicians together.