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AFRO-AMERICAN MUSIC INSTITUTE CELEBRATES 36 YEARS

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http://www.indiegogo.com/projects/building-today-for-tomorrow/x/267428

 Pain Relief Beyond Belief

                         http://www.komehsaessentials.com/                              

 

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.

 

WELCOME!

 

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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

       In Her Own Words

Information

QUOTATIONS

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.

Website: http://pittsburghartistregistry.org/drjazz
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

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

Comment by Dr. Nelson Harrison on August 4, 2020 at 11:22pm

Comment by E Van D on July 13, 2020 at 10:31am
"I'll play first and tell you what it is later." Miles Davis
Comment by Dr. Nelson Harrison on July 13, 2020 at 12:32am

By Randy 

Weston



"I used to go to Eubie Blakes house. He was 95 at that time. I would go to his house and listen to him tell stories about African American life in Baltimore. He'd tell me stories about those piano battles because our folks taught us to always learn from your elders. Try to be around old people. They will give you wisdom.

What we call the blues has been going on for thousands of years in Africa. Each society has their own understanding of the blues but it's simply African music. Why the music is so powerful is because the music is involved with spirit. Very much involved in truth, it has that African pulse and communication. No other music can you say "I love my baby but she don't love me." That's the blues....."

Comment by Dr. Nelson Harrison on June 9, 2020 at 7:32pm

"When I was young, growing up in Harlem, I heard Fats Waller perform. His playing struck me, and I realized that jazz would be my path in this life." —S.R. (2020)

Comment by Dr. Nelson Harrison on October 10, 2019 at 1:18am

"Music should humbly seek to please; within these limits great beauty may perhaps be found. Extreme complication is contrary to art. Beauty must appeal to the senses, must provide us with immediate enjoyment, must impress us or insinuate itself into us without any effort on our part."

He also said, "There’s no need either for music to make people think! … It would be enough if music could make people listen, despite themselves and despite their petty mundane troubles ... It would be enough if they could no longer recognize their own grey, dull faces; if they felt that for a moment they had been dreaming of an imaginary country."  ---Claude Debussy

Comment by Dr. Nelson Harrison on April 12, 2019 at 3:16am
Michael Royal, pianist:

Notes from one of my piano lessons:

After a dazzling performance, an admirer asked Horowitz, “Where does that incredible technique come from?”
The Master smiled and said, “I don’t know, Chopin just demands it of me”.

Rather than just another quip to be added to a list of platitudes,

STUDY THE REAL MEANING of his reply:

It is our vision of what It is that makes it possible.

Cultivate an enchanted outlook about your musical work and
Get excited about the possibility of making music this way!

Cut the chatter, out loud AND in your head.
Quit talking – stop trying to explain beauty – leave the explaining to others.

Paralysis from Analysis will evaporate.
The rest then will come on its own accord as you practice.

Aesthetic consideration activates and animates technique.

Just Play

Enthusiasm reduced to facts and methods is the fastest way to lose this magic.

Comment by Dr. Nelson Harrison on January 19, 2019 at 6:50am
To flourish as a musician - as a human being - there is no substitute for deep listening. For learning how to be still, learning how to quiet the chatter and with an open heart underpinned by disciplined work on your craft to deeply listen before responding. 

With practice we can learn to deeply listen and appropriately respond in the midst of the flow of improvised music, of business negotiations, of dialogue with family and friends and others.
-Brian (Open Studio - Play Jazz)
Comment by Dr. Nelson Harrison on January 14, 2019 at 3:47am

"Music does not exist except in the moment it is being performed.  For even if a person can read notes ever so well and has an ever so vivid imagination, he still cannot deny that only in a figurative sense does music exist when it is being read.  It only actually exists when it is being performed.  That might seem an imperfection in this art in comparison with the other arts whose works continually exist because they have their continuance in the sensuous.  But this is not so.  it is indeed a demonstration that it is a higher, more spiritual art."  .---The Essential Kierkegaard, p. 48 ---

Comment by Dr. Nelson Harrison on September 27, 2018 at 4:00am
Jack DeJohnette Interview: 

CB: Do you ever get to a place where you feel like your ideas aren’t as fresh? How do you work through that?

JD: My process is endless. I have a saying—and this is not just for music, this is for everybody. The whole universe is creative; that’s what we are apart of. It’s endless! The many dimensions, like galaxies and stars—it’s awesome! You can think ‘I’m part of that tree, I’m part of that flower.’ We are all part of the same creative consciousness essence. What happens when we become creative after writing a book, painting, or trying to come up with an idea for something that’s got you stuck—I just open myself up and tap into the source and the library of creative consciousness, and there are endless ideas. Just open yourself up to that channel; its like a radio, you just switch the channel. You and universal consciousness kind of work together. We’re always talking,‘Me! Me! Me! I did that!’ Well, not necessarily so. We have angels, guides and energies around us that are always there. When we open up and need help, they’re there to help us. I never worry about running out of ideas. Once I’ve tapped into that space I know I’m going to play something I’ll never play again. We all have that capacity.

Comment by Dr. Nelson Harrison on September 4, 2018 at 4:46am

"Like, when you go on the bandstand and start to play, you know what I mean, you go in a trance. I mean, you’re out of it. I mean, you’re only involved in what the other musicians are doing. Well, that’s the relief of playing music, because when you can play music, and if you really get involved in it, and you love it and you enjoy it, and you enjoy and respect the people you’re playing with, there’s nothing like that in the world. There’s nothing like that...like a guy that goes in a trance. He’s right there, you can look in his eyes, but his brain is only in the music and only what the other musicians are doing and what he is doing. That requires a great deal of concentration. You have to be sympathetic. You have to be understanding. You have to be friendly, mean, nasty, cold-blooded and everything at the same time, you know — without being hateful, though." - Arthur Taylor (WKCR interview with Ted Panken)

 

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