Pittsburgh's Own Regional Notables of Jazz
AFRO-AMERICAN MUSIC INSTITUTE CELEBRATES 36 YEARS
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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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There is a dearth of oral history available documenting the greatness of the Pittsburgh Jazz Tradition and Legacy.. Please feel free to add a quote of your own or words of wisdom or humor from a Pittsburgh artist that you may find of interest.
Website: http://pittsburghartistregistry.org/drjazz
Location: Pittsburgh, PA
Members: 79
Latest Activity: Jun 20, 2023
I don't need time. What I need is a deadline. -Duke Ellington, jazz pianist, composer, and conductor (1899-1974)
Discussion Forum
"No One Could Tell You How To Play"
Started by Dr. Nelson Harrison Nov 15, 2018. 0 Replies 1 Like
Ellis Marsalis Interview - 2002: Part Six
Started by Dr. Nelson Harrison Jan 15, 2017. 0 Replies 0 Likes
Ellis Marsalis Interview - 2002: Part Five
Started by Dr. Nelson Harrison Jan 15, 2017. 0 Replies 0 Likes
Comment Wall
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Comment by Dr. Nelson Harrison on July 29, 2016 at 6:29pm
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There’s a difference between the right notes and the best notes. The best notes also have something to do with “when.” ---Charles McPherson
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The real vibe of the blues — a slow blues, not an uptempo blues — is a state of reverence. The Greeks had different words for different kinds of love. “Eros” is sexual love. “Agape” is more how you feel about God. In the blues, even though there’s plenty of suggestive lyrics, the feeling underneath is more Agape. There’s a longing towards God. You have to be in that kind of space to play the blues well.
---Charles McPherson
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Speak up and speak out! ~ Diva JC
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The fact is one's own voice is not heard anywhere else. It's a challenge to be yourself. It takes a lot of courage."
- Yusef Lateef
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. "I never tried to prove nothing, just always wanted to give a good show. My life has been my music, it's always come first, but the music ain't worth nothing if you can't lay it on the public. The main thing is to live for that audience, 'cause what you're there for is to please the people." ---Louis Armstrong
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"It's been hard goddam work, man. Feel like I spent 20,000 years on the planes and railroads, like I blowed my chops off. Sure, pops, I like the ovation, but when I'm low, beat down, wonder if maybe I hadn't of been better off staying home in New Orleans." ---Louis Armstrong
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"I think I had a beautiful life. I didn't wish for anything I couldn't get, and I got pretty near everything I wanted because I worked for it. I don't keep nothing that I can't use right now, so everything I have I'm still enjoying it." ---Louis Armstrong
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. “I’ve gone on with bad colds, high temperatures and bruised chops. Sometimes you have to play when your lips are so tender, you feel there’s pins in them.” ---Louis Armstrong
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“You know, some times I sit around the house and think about all the places me and Lucille have been. You name the country and we’ve just about been there.” ---Louis Armstrong
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“It’s like calling Tchaikovsky a bum because his piano concerto sounds the same way each time you hear it.” ---Louis Armstrong
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