Pain Relief Beyond Belief





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.






Duke Ellington is first African-American and the first musician to solo on U.S. circulating coin



       In Her Own Words

YouTube, Music Labels End Standoff, Move Toward Paid Service

Source: Chad Springer/Image Source/Getty Images

YouTube, Music Labels End Standoff, Move Toward Paid Service

Lucas Shaw
December 19, 2017, 10:48 AM EST Updated on December 19, 2017, 11:46 AM EST
  • New Universal, Sony agreements allow video uploads to continue
  • Deals establish royalty rates between YouTube, rights holders

YouTube signed a new long-term agreement with the top two music labels, promising stronger policing of user uploads of copyrighted songs and paving the way for a new paid service after two years of tumultuous negotiations.

Universal Music Group said its deal with YouTube will give artists more flexibility and better pay. Sony Music Entertainment also signed a new agreement, according to people familiar with the matter. The Tokyo-based parent company declined to comment.

The accords establish royalty rates between YouTube and rights holders for professional music videos and user-uploaded clips, and pave the way for YouTube to introduce a new paid music service early next year. Warner Music Group, the third major label, signed a new deal with YouTube in May.

YouTube expects to convert some of the millions of people who listen to music for free on its video site into paying subscribers. That would help strengthen its relationship with the major label groups after years of tension over whether the Google-owned site was paying enough to copyright holders. 

Universal, owned by Vivendi SA, got control for the first time over what appears on ad-supported channels and persuaded YouTube to improve scanning for user uploads that include copyrighted content, a person familiar with the matter said, asking not to be identified discussing private information. Some songs and videos will only be available on the paid service, differentiating it from the free service, the person said.

YouTube is one of the most common ways people all over the world consume music, and one of the most important promotional organs for managers and record labels. Yet the site and its parent company Google, a unit of Alphabet Inc., have struggled to persuade consumers to pay for music.

Paid services Spotify and Apple Music have spurred a recovery in the music business, converting people who listened for free or bought the occasional album into monthly subscribers. U.S. music industry sales grew 15 percent in the first half of 2017, according to the Recording Industry Association of America, while global sales grew 5.9 percent, according to the International Federation of the Phonographic Industry.

Record labels have pilloried YouTube for a lax approach to copyright and insufficient compensation of artists, arguing sales would be growing more quickly if they generated more money from YouTube.


Universal and Sony operate both recorded music and publishing divisions, and their label groups represent both in negotiations with YouTube. 

It’s unclear how long YouTube’s new deals would last. Warner Music’s agreement with the video site was shorter than normal to allow for flexibility in the future, according to a May memo from the label.

YouTube and the record labels have had to overcome disagreements over the sharing of advertising revenue, the features and music available to free users and viewers outside the U.S. But YouTube is so popular that labels would rather work with the service than pull their music off.

The major music groups can now turn their attention to Facebook Inc., owner of the world’s largest social network. Facebook has been talking to music groups for more than a year about licensing rights for user-generated video, and, potentially, professional videos as well. 

— With assistance by Pavel Alpeyev

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Comment by E Van D on December 28, 2017 at 1:05am
Hate to admit it because my pockets are not up to the challenge of pay per view YouTube, but artists deserve royalties. YouTube videos are 21st century works of art. I'm thinking of Kendrick Lamar and St. Vincent among others.

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