Welcome to Global Conversations With The Fly Prof. In this edition, I am excited to introduce you to several remarkable individuals who are transforming lives and shaping cultures—both locally and globally—through the universal language of music. These individuals are more than artists; they are Caretakers of the Community, using rhythm, melody, and harmony as powerful tools to bridge generations, unite diverse backgrounds, and inspire positive change.
Through their commitment, creativity, and compassion, they are making a lasting impact on communities of all ages and walks of life, proving that music transcends boundaries and serves as a beacon of hope, healing, and cultural connection.
Join me as we explore their stories, celebrate their contributions, and learn how their work continues to uplift, empower, and transform the world—one note at a time.
Unbeknownst to a little girl at the time, she would one day become an instrumental figure in preserving and continuing a cherished South Side of Chicago tradition — a gathering that first came to life in the 1950s and still resonates today as the vibrant and soulful Back Alley Jazz Festival.
That little girl, Gail Mangrum, now a proud retiree of both the Chicago Police Department and Chicago Public Schools, reflects fondly on her unexpected connection to a cherished piece of South Side history.
Long before it was formalized as the Back Alley Jazz Festival, the gathering was simply known as Jazz in the Alley—a vibrant, grassroots celebration where neighborhood DJs would haul out their equipment, set up on the block, and compete for bragging rights for the week. The epicenter of this weekly tradition was near 49th Street between St. Lawrence and Vincennes or Champlain-mainly in Authur “Pop” Simpson’s garage, where music would pulse through the alleyways, drawing families, neighbors, and anyone within earshot.
Gail recalls being just 10 years old, spending Sundays visiting her grandmother’s house with her little sister. At the time, she believed these trips were simply family routines. It wasn’t until adulthood that she realized the fuller picture: her father was intentionally dropping them off at Grandma’s, whose house was close enough to hear the music from the speakers, so he could head over to Jazz in the Alley. What felt like an ordinary Sunday was, in fact, part of a much larger story—a living, breathing tradition of music, community, and culture that shaped her neighborhood and, unknowingly, her future.
Over the decades, Jazz in the Alley evolved from a small, grassroots neighborhood gathering into an event that attracted people from across Greater Chicago. While its growing popularity was a testament to the community’s love for music and culture, it also brought with it some negative influences that began to affect the environment and spirit of the original gatherings. In 1980, then Mayor Jane Byrne ordered the event to be shut down, effectively bringing an end to a cherished South Side tradition—at least for a time.
Fast forward to 2017, when Gail Mangrum’s neighbors sparked conversations with the organizers of the Hyde Park Jazz Festival about the possibility of reviving jazz in the neighborhood. What began as informal discussions quickly planted the seeds for a cultural comeback.
The goal was clear: to honor the legacy of the original Jazz in the Alley, while adapting the event to reflect the spirit and needs of the 21st century. This time, the format shifted—DJsgavewaytolivemusicians, allowing the rich tradition of live jazz to once again echo through the neighborhood streets. Along with this evolution came a new name: Back Alley Jazz Festival.
This revival is more than just a nostalgic tribute; it is an intentional act of cultural preservation and forward-looking community building. It celebrates the music, the history, and the people who made it possible, while serving as a beacon for a new generation—a generation determined to sustain their heritage, uplift their community, and reaffirm the South Side’s place on the world’s cultural map.
Several dedicated community members play vital roles in sustaining the Back Alley Jazz Festival, including Robin and Walter Bland, whose involvement reflects the festival’s deep roots in family, culture, and community. For Robin, the impact is personal and generational. She speaks about how the festival offers her daughters a unique opportunity to experience and explore the music their parents grew up with—bridging the gap between generations through sound and celebration.
“They get to see the community come together in a way that lets them really listen to and explore their parents’ music,” Robin shares. “It also brings back the older kids who left the community—giving them a chance to return to the block, reconnect, refresh, and reengage with the music they grew up hearing.”
She reflects on how this shared experience deepens connections between generations:
“I think they get a new appreciation for it and an understanding of why you like that song. I just think it’s important to do that—for the youth, for the younger generation—to understand not just the music, but the culture and the history behind it.”
In many ways, the Back Alley Jazz Festival becomes more than a performance—it becomes a living classroom, a family reunion, and a cultural bridge, reminding everyone of the power of music to connect the past with the future.
Walter Bland adds another layer to the importance of community, reflecting on how the festival connects not just to music, but to the very idea of home ownership and neighborhood pride.
“Nowadays, a lot of the kids don’t really think about being homeowners—but they grew up in homes,” Walter explains. “Robin and I grew up in homes, and we knew we didn’t want to be apartment dwellers. We wanted a home.”
He shares how events like the Back Alley Jazz Festival quietly instill values that go beyond the music:
“It might just plant a seed in the back of their minds—that owning a house is a responsibility, but it’s also a good thing. It’s about having neighbors, a community, people who know each other and fellowship. Because there’s a big difference between a block full of houses and a block full of apartments. In apartments, folks don’t always know each other. In a neighborhood like this, with houses, people build relationships.”
Walter’s words highlight how the festival isn’t just about preserving cultural traditions; it’s also about reinforcing the importance of community ownership, belonging, and the connections that come from knowing your neighbors.
DEE ALEXANDER is one of Chicago’s most gifted and respected female vocalist/songwriters.
Samuel Johnson Lewis II, Director of Engagement and Artist Programs for the Hyde Park Jazz Festival, plays a pivotal role in collaborating with the organizers of the Back Alley Jazz Festival. His mission is both ambitious and deeply rooted in community: to bring world-class entertainment to Chicago’s neighborhoods, ensuring that culture, creativity, and music are accessible to all—not just confined to downtown venues or elite spaces.
Yet, Lewis acknowledges that this work has become increasingly challenging in an era where funding for the arts is in steady decline. Reflecting on the current landscape, he shared a powerful insight:
“Individuals and communities are going to have to fund themselves, lean on each other, create partnerships, and share resources. To me, that’s what Back Alley Jazz Festival is about. It’s not just a celebration of the past—it’s about staking a claim for a better future.”
In this spirit, the Back Alley Jazz Festival stands as more than just an event; it is a living, breathing example of community resilience, cultural preservation, and the determination to ensure that music continues to uplift, inspire, and connect generations on Chicago’s South Side.
Find Out More About THE HYDE PARK JAZZ FESTIVAL
Caretakers of the Community-Blues
Fernando Jones, the youngest child of Mississippi-born parents, grew up idolizing his older brothers, Foree—affectionately known as “Big Flo”—and Greg. To him, they were the epitome of cool: strong, confident, and deeply immersed in the world of the Blues. They were what he calls “men’s men”—stylish, self-assured, and rooted in a culture of music that was as much about identity as it was about sound.
Driven by that admiration, Fernando picked up the guitar at just 4 years old, determined to be as cool as his brothers. His passion blossomed quickly. By the time he reached the first grade, he had already written his first song, planting the seeds for a lifelong journey in music.
As the years went on and his guitar skills matured, Fernando challenged himself to grow beyond just being a guitarist. He set out to become a better artist, adding singing to his repertoire—a process that required both vulnerability and innovation.
“I don’t have that southern, growling Blues voice,” Jones admits. “So, I was forced to write my own songs and sing my own songs. That way, people can’t tell me I’m wrong.” By playing an instrument and singing, he evolved to a point as a Blues musician and artist which led him to a profound understanding: “It’s not about the instrument, but the song.”
That decision—to embrace his own voice, both literally and figuratively—became a defining hallmark of his career. It embodies not just his artistic integrity, but also a larger truth about the blues: it’s not about imitation, it’s about authenticity—telling your story, your way.
There were seven pivotal years that set Fernando Jones on the path to becoming the global Blues icon he is today. His formal journey began in 1983, when he enrolled at the University of Illinois Chicago (UIC)—a decision that would intertwine his artistic passions with his academic pursuits.
By 1985, Jones was already making waves on campus, producing the first-ever Blues Festival at UIC. His drive didn’t stop there. He went on to organize comedy shows, concerts, and other live performances, steadily honing his skills as both a performer and a producer, and creating spaces for culture and entertainment within the university environment.
After graduating in 1987, Jones found himself substitute teaching—an experience that would prove unexpectedly transformative. On a whim, he brought his guitar to class one day. The students were captivated. Their excitement and curiosity sparked something profound-the birth of Blues Kids of America.
At the same time, the weight of his lived experiences—as a musician, a cultural ambassador, and a teaching artist—compelled him to start documenting his story. In July 1988, Fernando began writing what would become the foundation of his literary and educational legacy, further cementing his footprint in the Blues world. These seven years-filled with risk-taking, innovation, and relentless commitment, became the crucible that forged Jones into an artist, educator, and cultural leader with global influence-culminated with his first book in 1990.
The Forward by Sterling D. Plumpp highlighting the importance of Jones’ book.
“I Was There When The Blues Was Red Hot reflects the visions and commitments of a young Black male to his roots. Fernando Jones inherited the Blues as a musical expression, philosophy, and culture. His book displays his love for Blues in its grittiness as well as its lyrical celebration of life. At a time when many young Blacks suffer from historical amnesia, Jones in I Was There When The Blues Was Red Hot links himself with the aspirations of his group in a language tough enough and wholesome enough to do justice. I am sure his words, observations, insights, reflections, and analysis will broaden the appreciation of Blues.”
Jones gives some personal insight into his life and success because of the book. “It put me in a position to be marketable in a way many Blues men had not been. Normally, they were viewed as stand-alone musicians-a guitar or harmonica player. You’re not looked at as an academic. You’re not looked at as having any component of literacy, whatsoever when you come up as a Blues person. So as a Blues guy who penned a book, it was interesting because I was a young guy, so many people were interested in what does this guy know-young, Black and could defend the Blues in academic arenas made me somewhat of an anomaly.”
Soon after the release of his book, Fernando Jones received an invitation for his first overseas gig—an opportunity that marked the beginning of his evolution from a national figure into a global ambassador for the Blues.
Over the years, his music and educational mission have taken him to stages and classrooms around the world, including London, Japan, Italy, Poland, France, and Cuba. Each destination offered not just audiences, but deep cultural exchanges that affirmed the universal power of the Blues.
Jones recalls with deep appreciation how in Cuba and Japan, students knew the music note for note, fully immersed in the rhythm, the emotion, and the history behind it. “They weren’t just listening to the Blues,” he reflects, “they were digging it. They respected it.”
Among the many talented young people who have passed through Fernando Jones’ Blues Camp, a few have gone on to achieve extraordinary success in fields that transcend music, proving the camp’s impact reaches far beyond the stage.
Arguably the most well-known alumnus is NBA superstar Anthony “AD” Davis, the former Los Angeles Lakers NBA Championship teammate of LeBron James. Long before dominating on the basketball court, Davis attended a Blues Camp in Los Angeles.
Another standout is Carlton McDowell, a former Blues Camp student who recently captured headlines with his 2025 Grammy nomination for his production work on Eminem’s album The Death of Slim Shady. His journey from Blues student to Grammy-nominated producer reflects the versatility and influence of the skills and sensibilities instilled through the Blues.
Then there’s William Ledbetter, whose path led him to break barriers as the first Black bassist in the prestigious U.S. Navy Band Commodores. His accomplishment is a testament not only to his talent but to the power of representation and perseverance nurtured in spaces like Blues Camp.
These success stories underscore a fundamental truth about Fernando Jones’ vision: the Blues is not just music; it’s a mindset, a discipline, and a cultural inheritance that prepares young people to excel—whether in music, sports, the arts, or any field where creativity, resilience, and excellence are valued.
His work has not gone unnoticed by fellow musicians. Buddy Guy has invited him to perform with him and before he passed, Prince wanted to bring the Blues Camp to Minneapolis.
When asked what keeps him motivated after decades of performing, teaching, and traveling the world, Fernando Jones doesn’t hesitate. His drive comes from an unwavering belief that the journey is far from over.
“I feel the greatest song is yet to be written—and my greatest song is yet to be written,” Jones shares with a quiet conviction.
It’s this mindset that fuels his creativity, his commitment to mentoring the next generation, and his relentless pursuit of excellence. For Jones, the Blues isn’t just a reflection of the past—it’s a living, breathing art form with infinite possibilities for the future. Whether it’s composing a new piece, nurturing young talent, or preserving the cultural roots of the music he loves, Jones remains driven by the idea that his best work—and the best of the Blues—is still ahead.
This belief doesn’t just sustain him; it inspires everyone fortunate enough to learn from, perform with, or simply listen to him.
If you’re in Chicago July 6-11, July 26 or September 6, you may want to experience the Blues Camp or Back Alley Jazz energy.
If you have comments, suggestions, or ideas for future topics or individuals to feature in the upcoming editions of Global Conversations, I’d love to hear from you.
Prof. Earl N. Caldwell II
The Fly Prof.
theflyprof5@gmail.com
The 19th annual hyde park jazz festival
September 27 – 28, 2025
The Hyde Park Jazz Festival is a collaborative platform dedicated to supporting the presentation and ongoing development of jazz, particularly on the South Side of Chicago. We do this by creating opportunities for a diverse community of listeners to engage with the music and its creators, and by working with artists, organizational partners, and networks to celebrate the rich tradition of jazz and to support the development of new work and ideas. The Hyde Park Jazz Festival is a 501c3 organization.
