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
Glass Ceiling Here Also?
OKI am a femaile MUSICIAN not just a singing diva, but I also have been playing piano and organ for 45 years! I am finding it is much harder for a woman alone to even make contact w/male promotrs, club owners etc even when we are at LEAST of comparable talent and sometime M ORE TALENTED. Does anyone else fing this to be true>
OK SO NOBODY KNOWS, THEN TELL ME THIS:
SHOULD I STOP PLAYING AND BECOME JUST A 'DIVA" HIRING A PIANIST OR SHOULD I CONTINUE TO PLAY??????
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Replies to This Discussion
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Permalink Reply by Diva JC on
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Anne,
This is why I founded www.wijsf.org
However, I find that many of the women musicians are so stifled by the difficulties of being a musician and a woman that they become the obstruction to their own success.
This is truly a problem. As a singer, I work with men most of the time. Whenever I engage women, there's a lot of drama attached to the gig. It's unbearable sometimes. But I keep working to promote women musicians, nevertheless. However, it's stifling my ability to make an income for myself.
JC -
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Permalink Reply by Gypsy Piano Blues on
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Hi,Im Gypsy Piano Blues
I disbanded my full band because of no backup(getting paid when a full crowd or over full crowd-called in back to kitchen to tell me-no one was here for my band when in actuality everyone was there for us--he had 5 friends there(bar owner)
whom had a fistful of money( and I couldn't even get a pop on break-too busy)
well not 1 member came to my rescue(Im kind of small so bar owners liked to get one over on me)
Not only that but when an unruly patron would want to hear a song we didnt know or anything to that effect I had no rescue..
I split up pay evenly-as told by members of band- but had to pay roadies ect out of my money ,they didn't allow no payment for the running of the band-websites,advertising sending out cds to get gigs,phone bills from bookings all came out of my pocket.I was in the red
(And I loathe drama)men can be like women too so its not just women..ever try to go on the road in a van full of 5 or 6 men..lol they need to stop for bathroom breaks as much as women.and they can fight and argue amongst themselves too -
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