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



There is a dearth of oral history available documenting the greatness of the Pittsburgh Jazz Tradition and Legacy.. Please feel free to add a quote of your own or words of wisdom or humor from a Pittsburgh artist that you may find of interest.

Location: Pittsburgh, PA
Members: 79
Latest Activity: Jun 10

I don't need time. What I need is a deadline. -Duke Ellington, jazz pianist, composer, and conductor (1899-1974)

Discussion Forum

"No One Could Tell You How To Play"

Started by Dr. Nelson Harrison Nov 15, 2018. 0 Replies

Ellis Marsalis Interview - 2002: Part Six

Started by Dr. Nelson Harrison Jan 15, 2017. 0 Replies

Ellis Marsalis Interview - 2002: Part Five

Started by Dr. Nelson Harrison Jan 15, 2017. 0 Replies

Comment Wall


You need to be a member of QUOTATIONS to add comments!

Comment by Dr. Nelson Harrison on June 10, 2021 at 3:12am

For so many amateur musicians, the pattern of criticism and the hierarchical relationship of the teacher-pupil relationship can be crushing. The student becomes disengaged from music but more importantly from themselves. I’m reminded here of Joni Mitchell’s experience of piano lessons. In a New York Times article, Lindsay Zoladz recalls Mitchell saying: ‘I played … for my piano teacher, who slapped me across the wrist with a ruler for playing by ear … she said: “Why would you play by ear when you have the masters under your fingers?”’ The young Mitchell (then Joan Anderson) replies: ‘Well, the masters had to play by ear to come up with that stuff.’ That was her last piano lesson.

Comment by Dr. Nelson Harrison on June 3, 2021 at 1:49am

"Pure genius #Jazz is manifested when he & the orchestra runaround the room screaming." - Charles Mingus

Comment by Dr. Nelson Harrison on May 24, 2021 at 2:05am

♪♫ "Good #Jazz is when the leader jumps on the #piano, waves his arms & yells. Fine Jazz is when a tenorman lifts his foot in the air. Great Jazz is when he heaves a piercing note for 32 bars & collapses on his hands & knees." - Charles Mingus

Comment by Dr. Nelson Harrison on September 12, 2020 at 4:25pm

[New York drum teacher] Charlie Perry pointed that out. When you see yourself doing the act and your brainwaves send out a signal to that part of your body. You don’t actually follow through with it, but the message is sent there already. So it’s already programmed. So when you actually sit down at the instrument you’ll find that you can play it — once you develop a certain amount of dexterity and proficiency on the instrument.

Comment by Dr. Nelson Harrison on September 12, 2020 at 4:24pm

Charles McPherson: “If you’re going to be a musician, you must not have any mental blocks. We, as musicians, can’t afford not to hear those who came before us. A layman, on the other hand, can listen to whatever makes him feel good, because he is not as wholly involved as the musician.

A musician should go as far back in his listening as he possibly can, ignoring all the little segregated categories that the writers and critics like to put music into. A musician’s scope should be wide; he does not have the layman’s privilege to be narrow. That is, if he wants to be great, if he really wants to become an artist.

Comment by Dr. Nelson Harrison on September 8, 2020 at 10:01pm

In his biography of Sugar Ray Robinson, Will Haygood said Miles, who idolized Sugar Ray, came to Pittsburgh for Sugar's last pro fight in 1965, and, along with everybody else, told Sugar he should retire for good. Sugar did.  

Comment by Roger S Day on August 24, 2020 at 2:46pm
The tl;dr is this:  "leave it to the ignorant and stupid who judge by counting only the faults. I can be grateful, and so must you be, for even one note, one wonderful phrase."
But the story is worth your time.
Here is an excerpt from Piatigorsky's book, in which he writes of an encounter with Pablo Casals, that reveals Casal's prodigious memory, attention to minute detail, and human warmth:"
My great wish was to hear Pablo Casals. One day my desire was almost fulfilled and I met him. But ironically, it was I who had to play. It was in the home of the Von Mendelssohns, a house filled with El Grecos, Rembrandts, and Stradivarius. Francesco von Mendelssohn, the son of the banker, who was a talented cellist, telephoned and asked if he could call for me; they had a guest in the house who would like to hear me play.
"Mr. Casals," I was introduced to a little bald man with a pipe. He said that he was pleased to meet young musicians such as Serkin and me. Rudolf Serkin, who stood stiffly next to me, seemed , like myself, to be fighting his diffidence. Rudi had played before my arrival, and Casals now wanted to hear us together. Beethoven's D-Major Sonata was on the piano. "Why don't you play it?" asked Casals. Both nervous and barely knowing each other, we gave a poor performance that terminated somewhere in the middle.
"Bravo! Bravo! Wonderful!" Casals applauded. Francesco brought the Schumann Cello Concerto, which Casals wanted to hear. I never played worse. Casals asked for Bach. Exasperated, I obliged with a performance matching the Beethoven and Schumann.
"Splendid! Magnifique!" said Casals, embracing me.
"Bewildered, I left the house. I knew how badly I had played, but why did he, the master, have to praise and embrace me? This apparent insincerity pained me more than anything else.
"The greater was my shame and delight when, a few years later, I met Casals in Paris. We had dinner together and played duets for
two cellos, and I played for him until late at night. Spurred by his
great warmth, and happy, I confessed what I had thought of his
praising me in Berlin. He reacted with sudden anger. He rushed to
the cello, "Listen!" He played a phrase from the Beethoven sonata.
"Didn't you play this fingering? Ah, you did! It was novel to was good...and here, didn't you attack that passage with up-bow, like this? he demonstrated. He went through Schumann and Bach, always emphasizing all he liked that I had done.
"And for the rest," he said passionately, "leave it to the ignorant and stupid who judge by counting only the faults. I can be grateful, and so must you be, for even one note, one wonderful phrase." I left with the feeling of having been with a great artist and a friend.
Comment by Dr. Nelson Harrison on August 24, 2020 at 3:20am

“My Beloved Brothers and Sisters, we can just feel the vibes. Music is a celestial sound, and it is the sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much, much greater than any other power in this world. And, one thing I would very much wish you all to remember is that with sound, we can make—and at the same time, break." ---Swami  Satchidananda at Woodstock

Comment by E Van D on August 10, 2020 at 11:38am
And what happens once the audience starts listening can bring about theta brain waves, the most highly creative brain wave. Thetas inspire new insights and solutions to problems.
Comment by Dr. Nelson Harrison on August 10, 2020 at 6:17am

When I go to these places, I don’t care what country I go to – I watch the way people be moving, walking, coming into concert halls. Then you know how to play off of them. That’s observation. As a musician, you’ve got to be observant.

If you’ve got a room filled up before a concert, some people want to hide out. I say, go [into the room] before a concert starts. If everybody’s talking and smiling, you may not hear what the individuals are saying, but look for the drone that’s in the room. [The audience is] creating a harmony. And they can hear that, and that’s pumping them up. So if you can play underneath that drone and lift everything up… Some people don’t want to do that. They come in there and say, [mock-serious voice] “I have this tune, and this is B-flat.” I said, “Maybe the room ain’t in B flat!” Get the fundamental in the room, man. ---Milford Graves


Members (79)


© 2021   Created by Dr. Nelson Harrison.   Powered by

Badges  |  Report an Issue  |  Terms of Service