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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Duke Ellington is first African-American and the first musician to solo on U.S. circulating coin
MARY LOU WILLIAMS
INTERVIEW
Walt Harper's Attic & All That Jazz
2/02/2012
The Attic and All That Jazz
Yes, the Square is alive with the sound of music these days. Whether it's a free lunchtime concert in the summer or bands entertaining during the evenings at NOLA and other night-life hot spots, you can tap your feet to the beat year-round in the Square. And if you listen closely enough, you almost hear the sweet sounds of Walt Harper tickling the ivories coming from the space above the current Bruegger's Bagel shop in a magical place Pittsburghers once knew simply as "the Attic."
From 1969 to 1976, the Steel City's very own piano man ruled a musical kingdom that drew loyal followers from rank and file Downtown workers, local political and business movers and shakers, and sports superstars like Roberto Clemente, Terry Bradshaw, L.C. Greenwood, and basketball great Connie Hawkins. And on any given night, jazz greats such as Stan Getz, Dizzy Gillespie, Cannonball Adderley or the Modern Jazz Quartet would headline at the Attic. The music might start on the downbeat, but it was always an upbeat experience at the Attic with Walt Harper and his Quintet, described by music critics of the day as one of the tightest jazz combos in the entire U.S.
What's especially noteworthy about the Attic is that it was one of the few Downtown jazz clubs in the country owned by an African American. But there was never a color line at the Attic as far as the talented Mr. Harper was concerned. With a following of loyal white fans who first discovered him when he entertained at the legendary Crawford Grill in the Hill District, Walt proved that music transcended race and other differences between people.
Now, according to old news stories, the Attic is part of a story of a revived Market Square, drawing people in with exciting evening activity. Hmmm...kind of sounds familiar, doesn't it? Don't forget, the Market Houses came down only eight years earlier and were replaced by a flat park, leaving fewer reasons to come to the Square and less foot traffic for other businesses in the area. Back then, a state liquor store did its business in the Bruegger's location, and the Attic moved into the second floor above it, formerly the inscrutably named Mystic Tea Room (pictured here). With two dance floors, the Attic was designed to look like... a real attic. But whatever the decor, Walt and his musical guests shook the rafters with a specially designed sound system. For a lucky seven-year streak, Walt struck the right chord night after night and helped kick start one of the earlier transformations of the Square.
The state store and many other businesses that were in the Square back then have long disappeared. But, the memories of Walt Harper, who died in 2006, still resonate within the hearts and minds of so many Pittsburghers who climbed the stairs to the Attic. Nearly 40 years after the final coda, Walt Harper fans remember a musical giant who lived his life the way he played jazz — with many a grace note. For more information on Walt Harper's life (off Market Square), we recommend checking out the Old Mon Music blog. POSTED BY MARKET SQUARE AT 11:27 AM LABELS: HISTORIC
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