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, Parlanto 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.
Biography Lady Blues Jackie In My Mama House
Lady Blues Jackie Amos is the newest style since the 1940's her influences such as Bessie Smith, Billy Holiday, Lenis Guess, Langston Hughes and many who came before her, in her unique style Lady Blues the soul of soul impacts the black roots of blues, Jacqueline favorite phase, I came through the back door, but now I am returning in the front. My Mama told me I was a country girl, I took the train on the silver Media, from the south, I don milk many cows, and road on the back of the bus, but I have arrived to another level of black jazz, for those who were before me, I must keep the torch burning, I am the new arrival from the past, Lady Blues Jackie have worked the fields of blues, and milked the clubs of Brooklyn's house, but I have been born again, on the back of the south, and in the new halls of New York, play me some of those down home blues, I will take you back to the woods of the south, through the mystery of blues, the cries of the pain that centered in man hearts, I have arrived to bring back that down home south. Lady Blues first gained widespread recognition Tar Hill Lounge, Cave, Fulton Terrace, Sugar Hill, Many of her compositions, " Lodi Pop, "I Got A Sugar Daddy", "He May Not Be Very Fancy", "Creeping," Lady Blues also a publish author and International Artist, this is just some of her contributions to the world of arts, Lady Blues said, I am the statue of the invisible blues, all that comes through me have lived and pass on, but though the synopsis of rebirth, I shall cloak the voices of black roots.
Lady Blues states nobody knows my name, buy my compositions shall compliment the sounds of black roots. The blues was born the motherland of suffering and pain, oh how the poetic revolution, when the Deep South lived and prayed by the black psalms. The history that bared the pain and the underground that brought a new day, through the suffering came enhancement, and through the roots of cries brought character, and character that sooth the suffering of the end of slavery and the roads to freedom. Lord I Ain't Going To Study War No More, I'se on my way to the freedom land, lord I shall open the door.
The Southern blues is the style of lady blues; her dynamic style portrays Billy Holliday, Bessie Smith, Etta James, Earthier Kit," My man Doesn't Love Me" Billy Holiday, and many exceptional lady blues singers, her high light is differently original, with that misty forte of blues aesthetics " Many say she is the resurrection of the past. Lady blues Jackie compose on the rhythm of the bars of notes; the melody instantly forms a historic symphony of blues. Lady Blues portray the 40's in her conservatory of originals, feeling the soul that lives within her, her vocal style at times resemble Bessie Smith, and many masters of the blues. Lady Blues also creates a forum the back door blues.
I take on a new preservation of modern blues and jazz, with a touch of honey that sticks to my ribs, the legends that lives through me, The symposium preceded a performance of blues related to the compositions of her poetry, the pain of pleasure one might say sadistic in the format of relevance, the association of pain and pleasure, Lady Blues Jackie have been performing since the age of 19 relating to the stories of her family tree, I think she is genuinely.
About the Author
Lady Blues Jackie Amos is the newest style since the 1940's her influences such as Bessie Smith, Billy Holiday, Langston Hughes and many who came before her, in her unique style Lady Blues the soul of soul impacts the black roots of blues, Jacqueline favorite phase, I came through the back door, but now I am returning in the front. My Mama told me I was a country girl, I took the train on the silver Media, from the south, I don milk many cows.