Pittsburgh's Own Regional Notables of Jazz
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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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Bassist Henry Grimes Dies at 84
Bassist Henry Grimes Dies at 84
By DownBeat I Apr. 18, 2020
Henry Grimes (1935–2020)
(Photo: Nick Ruechel)Philadelphia-born bassist Henry Grimes, revered for his work alongside jazz titans, died April 15 at the age of 84, according to a report from WBGO. His death was attributed to complications from COVID-19. Margaret Davis Grimes, his wife, confirmed the details to the Jazz Foundation of America, which had been assisting with the bassist’s medical care at the Northern Manhattan Rehabilitation and Nursing Center in Harlem.
Onstage or in the studio, Grimes worked with Thelonious Monk, Charles Mingus, Cecil Taylor, Gerry Mulligan, Albert Ayler, McCoy Tyner, Lee Konitz, Sonny Rollins and Pharoah Sanders, among others. Known primarily for his bass work, the Juilliard-trained performer also played violin.
Grimes’ debut as a leader, The Call, was released in 1965. But after a prolific period in New York early in the decade, Grimes relocated to Los Angeles in 1968. Finding little work, he dropped out of the music scene altogether and disappeared from public life.
In 2002, a social worker named Marshall Marrotte tracked down Grimes, who didn’t own an instrument at the time. William Parker eventually gifted him with a bass, setting in motion one of the most intriguing comebacks in jazz history.
Grimes went on to play hundreds of concerts, and among his post-comeback albums were guitarist Marc Ribot’s 2014 album Live At The Village Vanguard, which also featured drummer Chad Taylor, and Spirits Aloft, a 2010 duo project recorded with drummer Rashied Ali.
In 2016, Grimes performed at and was the subject of tributes during the Vision Festival. Covering a June 7, 2016, concert at Judson Church in New York for DownBeat, Ken Micallef wrote, “Every number was infused by Grimes’ presence. Shifting from bass to violin, his concentrated stare never changed, even as he was joined by different musicians. His spirit was as strong and undeniable as his performance.” DB
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