Pittsburgh's Own Regional Notables of Jazz
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PITTSBURGH JAZZ
From Blakey to Brown, Como to Costa, Eckstine to Eldridge, Galbraith to Garner, Harris to Hines, Horne to Hyman, Jamal to Jefferson, Kelly to Klook; Mancini to Marmarosa, May to Mitchell, Negri to Nestico, Parlan to Ponder, Reed to Ruther, Strayhorn to Sullivan, Turk to Turrentine, Wade to Williams… the forthcoming publication Treasury of Pittsburgh Jazz Connections by Dr. Nelson Harrison and Dr. Ralph Proctor, Jr. will document the legacy of one of the world’s greatest jazz capitals.
Do you want to know who Dizzy Gillespie idolized? Did you ever wonder who inspired Kenny Clarke and Art Blakey? Who was the pianist that mentored Monk, Bud Powell, Tad Dameron, Elmo Hope, Sarah Vaughan and Mel Torme? Who was Art Tatum’s idol and Nat Cole’s mentor? What musical quartet pioneered the concept adopted later by the Modern Jazz Quartet? Were you ever curious to know who taught saxophone to Stanley Turrentine or who taught piano to Ahmad Jamal? What community music school trained Robert McFerrin, Sr. for his history-making debut with the Metropolitan Opera? What virtually unknown pianist was a significant influence on young John Coltrane, Shirley Scott, McCoy Tyner, Bobby Timmons and Ray Bryant when he moved to Philadelphia from Pittsburgh in the 1940s? Would you be surprised to know that Erroll Garner attended classes at the Julliard School of Music in New York and was at the top of his class in writing and arranging proficiency?
Some answers can be gleaned from the postings on the Pittsburgh Jazz Network.
For almost 100 years the Pittsburgh region has been a metacenter of jazz originality that is second to no other in the history of jazz. One of the best kept secrets in jazz folklore, the Pittsburgh Jazz Legacy has heretofore remained mythical. We have dubbed it “the greatest story never told” since it has not been represented in writing before now in such a way as to be accessible to anyone seeking to know more about it. When it was happening, little did we know how priceless the memories would become when the times were gone.
Today jazz is still king in Pittsburgh, with events, performances and activities happening all the time. The Pittsburgh Jazz Network is dedicated to celebrating and showcasing the places, artists and fans that carry on the legacy of Pittsburgh's jazz heritage.
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MARY LOU WILLIAMS
INTERVIEW
JazzTimes
Aside from the fact that I have written for the magazine, I do think it was a valuable tool to inform people about music. It was as committed to talking about the current state of music as much as it was talking about the past. While it's nice to hear about the fifth deluxe reissue of some box set, people need to know about the Sean Jones album for instance. There's too much music out there being released to stick with one era.
So what I'm getting it as it's a tragedy to lose a publication like this. It kind of makes me wonder what would happen if........hm. 2/3s of the people belonging to this site bought the latest issue and told one friend to do the same. Would it help the future of it?
I know jazz critics have been a sticking point for many people over the years - justifiably so. I'm not here to defend them. I'm here to support the dialogues that get started when somebody reads about an album and starts talking to a friend of theirs about it and the friend says, "Oh, if you like that player, you should also check out THIS player..." That's how people discover music that will stick with them.
Actually I don't know if that's what I'm saying either. I just wanted to let you all know about it the magazine and how I think it's a shame.
Replies to This Discussion
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Permalink Reply by Ed Skirtich on
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Hi Mike,
I'm really sorry to hear about this.
I really enjoy reading your pieces in "JazzTimes," and maybe there will be a miracle that this magazine will find a way to come back.
What's going on that jazz keeps getting less and less with gigs and publications?
Why is jazz becoming so extinct?
There's just too many phenonmenal writers and musicians for jazz to die away.
What can we do to save live jazz, jazz CDs, and jazz magazines?
Musically,
Ed Skirtich
ejskirtich@comcast.net
(412) 422-4149 (H)
(412) 841-8046 (C)
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