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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Duke Ellington is first African-American and the first musician to solo on U.S. circulating coin
MARY LOU WILLIAMS
INTERVIEW
WE have tp play music of the dead
There is no support between people in the community, no new ideas. That;s why it fell apart. I am sorry for Tony, because he ws one off the nicer guys in jazz circles, but I dread what will happen.
Someone said to protest....aren't we a bit late???
I have never been treated so rudely by fellow musicians
than lately, and I know it;s because I am not in this "Diva" club All this does is narrows the field more.
I completed a CD where I played and sang everything.
I did the orchestra arangements, as well as the songs,
and I consider my intensity as much as a Diva than someone who gets up and sings sometime the same songs, and I no longer am going to pu up with not being allowed to sit in or having to audition for people I plaued with for years and know damned well what I can do.
Anyway I had to say this. I feel lost because THERE IS NO SUPPORT, ONLY COMPETITION and someone eto lose....and it won.t be me?
Comment
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Comment by Kevin Hurst, Sr. on March 3, 2019 at 10:55pm
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Eell Annie I learned many standard jazz fare in the 70s but tbey were new to me! Regular standards and Blues I had to work on.at 23 yrs old I knew 2-300 tibes out if college but was behind the game for a jazz musician I went to Pitt and earned 109 credits in Mechanical engineering was in concert band 3terms and a good jazz band 1 term. I met Calvin Stemley and that was cool. I continued to study harmony and practicing. I dod some transcribing and added chords which was a big accomplishment for me. Sort if a testament. I only composed 4 originals but one a backeat blues I expanded for 5 horns. I played in. Tbe leader didnt want to try it in 1985 but Nathan Davis allowed Pitts Jazz band to try it and it sounded the way I wrote it! I always enjoy your playing.
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