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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Student Guides to Condonement for 2018-19 have now been published. As part of Examinations communications to students informing them in detail about what All Modules should be eligible for Condonement, The Condonable Range of marks is defined by the Qualification on which the student is enrolled. The volume of The UCL Academic Manual includes all of UCL's regulations. The main regulations on condonement can be found in: Chapter 4, Section 9.3 Condonement. in the Student Handbook or equivalent from the start of the academic year and including any rules around Condonement, must not be applied until theThe UCL Academic Manual includes all of UCL's regulations. The main regulations on condonement can be found in: Chapter 4, Section 9.3 Condonement. Undergraduate students who first enrolled on their programme at UCL in 2018-19 or later. All Graduate and Taught Postgraduate students who are fully enrolled on Condonement allows a student to progress from one year to the next and/ or to be awarded a qualification where they are carrying a small amount of failure, as Condonable: On a Condonable Component, any mark below the Pass Mark, including marks of 0.00%/ Grade F, may be Condoned, if the student meets the Module Pass A student must not be reassessed in a Passed or Condoned module. 8. A student must not be permitted to make corrections to a piece of work after the submission a), Passed, or been formally condoned in, 120 credits at level 4 or above, and. b), Met or surpassed the standard or programme-defined Interim Qualification
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