Harlem of the West
Historical Essay
by Dorian Scott Gulley, 2025
Due to its vibrant jazz scene between the 1950’s and 1970’s, San Francisco’s Fillmore district was widely regarded as the “Harlem of the West.” The district thrived as a hub for live performance and gave San Francisco residents a place to enjoy Black creativity. Many musicologists during this time, almost all White, denounced jazz for its “incoherence,” which can be better described as dissimilarity to the sound and structure of Western music. The Fillmore therefore served as not only a hub for musical entertainment, but also as a space for Black musicians to practice musical agency and create a culturally distinctive sound without the threat of rejection.
However, the Fillmore’s rise as the Harlem of the West did not last. As a result of federal policies, including the Housing Act of 1949, the city of San Francisco began an urban renewal project in the Fillmore under the pretense that the district was a blighted slum that needed to be healed. The Fillmore had a significant Black population compared to other San Francisco districts, leading many to believe that the chosen site for redevelopment was racially motivated. The displacement of Black people in the Fillmore also meant the removal of Black musicians, and therefore the removal of the foundation for San Francisco’s jazz culture. One former resident, Ericka Scott, recalled how jazz legends like Billie Holiday could once be seen walking through the streets of the Fillmore, expressing genuine excitement about the vibrant community. Before the issue of urban renewal, the Fillmore was a place to mingle with the greats. Redevelopment also lead to the closure of many jazz clubs.
Fillmore cultural map.
Map courtesy Elizabeth Pepin Silva and Lewis Watt, from their book "Harlem of the West," reproduced at the New Fillmore.
The magnitude of this cultural loss is made especially clear when looking at the map above. As shown in the figure, the Fillmore District had dozens of jazz clubs packed into a relatively small geographic area. Each dot represents an entire community of jazz enthusiasts, as well as jazz musicians who performed, made a living, and connected with audiences who appreciated their craft. The closure of Bop City was an especially significant loss. Known for its late-night performances, Bop City attracted some of the jazz greats at the time, including Billie Holiday, Dizzy Gillepsie, Charlie Parker, John Coltrane, and Miles Davis. This club enshrined some of the most creative music of the 1950s and 1960s, creating a haven for Black art. Losing Bop City meant losing a key site for Black cultural autonomy.
For the musicians who attempted to make a living in the Fillmore, redevelopment often meant the end of their music career. With clubs closed, audiences dispersed, and high housing prices, many Black artists were forced to either leave the city or abandon jazz entirely. One bassist, Terry Hilliard, recalls as a college student playing at venues in the Fillmore where anyone was able to share their talents–be it music, dance, or another art form–and be accepted by an audience. However, following urban renewal, this culture was no longer something that he saw. Hilliard’s account is but one example of how economic pressures and demographic shifts restricted a vibrant culture and prevented the careers of rising Fillmore musicians.
In spite of these challenges, some artists persevered. For example, jazz saxophonist Bobbie Webb recalls, “I was here when they tore it out…and I’m still here.” By “tore it out,” Webb is referring to the destruction of the Fillmore district during urban renewal. Webb’s refusal to leave the district is indicative of how Black jazz musicians from the Fillmore emphasize the importance of preserving their cultural roots. He recalls having to work a second job in order to make a sustainable living while pursuing his love for music. Despite the challenges he faced, Webb stayed rooted to his craft and exemplified the resilience of Black musicians during urban renewal.
Although the Fillmore’s jazz scene was severely disrupted by redevelopment through the 1960’s, recent efforts have been made to preserve this history and culture. One of the most notable efforts to revive the Fillmore’s musical heritage is the Fillmore Jazz Festival, which has been held anually since 1986. Drawing over 50,000 attendees per year, the festival serves not only as a place for entertainment, but also as a way to reclaim the culture that was damaged as a result of urban renewal. Although the festival cannot totally recover the losses from the 60’s, it allows the community to reconnect with the Fillmore’s history, creating a space for celebration and remembrance.
The history of the Fillmore district is a history of Black musical excellence, systemic displacement, and cultural revival. What was once a lively hub for late-night jazz and elite jazz musicians became a hollow shell of what it once was, completely contradicting the urban renewal project’s effort for “revitalization.” The closures of jazz clubs and the removal of Black musicians drained what was once a vibrant culture. Nonetheless, artists like Bobbie Webb and events like the Fillmore Jazz Festival exemplify how individuals and communities worked to restore the legacy of the Harlem of the West. To honor this history today, we can remember, appreciate, and continue the creation of Fillmore’s jazz.
Sources
1. How ‘Urban Renewal’ Decimated the Fillmore District, and Took Jazz With It, KQED
2. Racial Segregation and the San Francisco Musicians' Union, (pdf) 1923–60
3. Harlem of the West: The San Francisco Fillmore Jazz Era author Elizabeth Pepin – Jerry Jazz Musician
4. Harlem of the West – THE NEW FILLMORE
5. Interactive play depicts history of S.F. Fillmore District