PROGRESSIVE MUSIC COMPANY

AFRO-AMERICAN MUSIC INSTITUTE CELEBRATES 36 YEARS

BOYS CHOIR AFRICA SHIRTS
 
 
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

Johnny Mandel, Composer Who Wrote ‘MASH’ Theme Song, Dies at 94

Johnny Mandel, Composer Who Wrote ‘MASH’ Theme Song, Dies at 94

Johnny Mandel


Johnny Mandel, the Oscar- and Grammy-winning songwriter of “The Shadow of Your Smile,” “Emily” and the theme from “M*A*S*H,” has died. He was 94.

“If Johnny Mandel had just composed ‘The Shadow of Your Smile’ – one of the most beautiful songs I have been honored to record – it would have been enough to earn his standing as one of the finest composers of our time,” Tony Bennett wrote on Twitter, including a portrait of Mandel he painted himself.

Mandel was considered one of the finest arrangers of the second half of the 20th century, providing elegant orchestral charts for a wide range of vocalists including Frank Sinatra, Peggy Lee, Barbra Streisand, Michael Jackson, Tony Bennett, Natalie Cole and Hoagy Carmichael.

Mandel scored more than 30 films during his Hollywood career, including the 1960s films “The Americanization of Emily” (from which the hit song “Emily” emerged), “The Sandpiper” (which contained “The Shadow of Your Smile,” earning an Oscar and a Grammy for Song of the Year along with lyricist Paul Francis Webster), “Harper,” “An American Dream” (which included the Oscar-nominated song “A Time for Love”), “The Russians Are Coming, the Russians Are Coming” and “Point Blank.”

“I was so sad to learn that a hero of mine, Johnny Mandel, passed away,” wrote Michael Buble on Twitter. “He was a genius and one of my favorite writers, arrangers, and personalities. He was a beast.

“A dear friend and extraordinary composer arranger and all-around brilliant talent, Johnny Mandel, just passed away,” wrote Michael Feinstein on Facebook. “The world will never be quite the same without his humor, wit and wry view of life and the human condition. He was truly beyond compare, and nobody could write or arrange the way he did. Lord will we miss him. Let’s celebrate him with his music! He would like that.”

In 1970 he scored “M*A*S*H,” which required a song that he cobbled together from a lyric by director Robert Altman’s 15-year-old son Michael. That tune, “Suicide Is Painless,” later became, in instrumental form, the theme for the long-running TV series and one of his most famous works.

His later film scores included “Summer Wishes, Winter Dreams,” “The Last Detail,” “The Sailor Who Fell From Grace With the Sea,” “Agatha” (including the song “Close Enough for Love,” now a standard), “Being There,” “Caddyshack,” “Deathtrap” and “The Verdict.”

In addition to the theme from “M*A*S*H,” he composed the themes for TV’s “Banyon” and “Too Close for Comfort” as well as scores for such series as “Markham” and “Chrysler Theatre.” He earned Emmy nominations for his 1980s TV-movie scores “A Letter to Three Wives,” “LBJ: The Early Years” and “Foxfire.” His other telefilms as composer included “Evita Peron,” “Christmas Eve” and “Kaleidoscope.”

Mandel was born in New York City. He played the trumpet as a young teen and, fascinated by the different sounds of the big bands he admired in the late ’30s and early ’40s, he began studying arranging with top arranger Van Alexander (who had written “A-Tisket, A-Tasket” for Ella Fitzgerald). He always credited Alexander for launching his career as an arranger.

As a trumpeter, he played for Joe Venuti’s band; after switching instruments to trombone, he played in the swing bands of Henry Jerome, Boyd Raeburn, Jimmy Dorsey, Buddy Rich, Alvino Rey and Count Basie during the late 1940s and early ’50s.

He finished his musical education at the Manhattan School of Music and Juilliard in New York, then began arranging for other bands including those of Woody Herman, Artie Shaw, Elliot Lawrence and Chet Baker.

During the early 1950s, Mandel was one of the arrangers for Sid Caesar’s live, New York-based 90-minute variety TV series “Your Show of Shows.” Mandel moved to California in the late 1950s and began composing for films, including a landmark jazz score for “I Want to Live,” starring Susan Hayward, in 1958.

He received the Golden Score Award from the American Society of Music Arrangers and Composers in 1996; was inducted into the Songwriters Hall of Fame in 2010; and named a Jazz Master by the National Endowment for the Arts in 2011.

His five Grammys included two for “The Sandpiper” (1965, song and score) and arranging honors for albums by Quincy Jones (1981), Natalie Cole (“Unforgettable,” 1991) and Shirley Horn (1992).

Throughout his film-scoring period (1958-1990) and beyond, Mandel continued to arrange for leading artists including Mel Torme, Anita O’Day, Nancy Wilson, Diana Krall, Michael Bolton, Barry Manilow and Manhattan Transfer. He also served on ASCAP’s board of directors for many years.

Said ASCAP President Paul Williams of his friend and collaborator: “Giant. Genius. Gentleman. There are many ways to describe the legendary composer Johnny Mandel. His incredible music spanned decades, mediums, oceans and firmly established him in the American Songbook canon. I had the great honor of witnessing his unique gifts personally when we co-wrote a song `Close Enough for Love.’ I cherish that experience. Johnny proudly served his fellow music creators on the ASCAP Board for many years and his work paved the way for future generations of songwriters and composers to pursue a life in music as he had. He was a true jazz spirit and that spirit will live on in his music and in our hearts for eternity.”

He is survived by his daughter, Marissa.

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