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

Isaac Hayes, Deep-Voiced Soul Icon, Is Dead at 65

August 10, 2008

By THE ASSOCIATED PRESS Filed at 8:56 p.m. ET With its riveting orchestration, definitive guitar play and signature sensual baritone vocals, Isaac Hayes' theme song for the 1971 movie ''Shaft'' not only became one of pop music's iconic songs, but also the defining work of Hayes' career. Yet the ''Theme from Shaft,'' which would earn both Grammys and an Oscar, was just a snippet of the groundbreaking music for which Hayes -- who died Sunday at age 65 -- was responsible. He penned soul classics like ''Hold On I'm Comin''' for Sam & Dave, helped usher in the era of disco and was a goldmine for countless hip-hop and R&B artists who used his illustrious arrangements as the focal point for their songs decades later. ''Isaac Hayes embodies everything that's soul music,'' Collin Stanback, an A&R executive at Stax, told The Associated Press on Sunday. ''When you think of soul music you think of Isaac Hayes -- the expression ... the sound and the creativity that goes along with it.'' His influence also extended beyond music. His trademarked bald head, full beard and muscular frame, often adorned with a multitude of gold chains, made him a fashion trendsetter at a time when most of his contemporaries were sporting blowout Afros. He was also a symbol of black pride, and an activist for civil rights. The Rev. Al Sharpton called Hayes a ''creative genius'' and added, ''even in his later years he never hesitated to appear for a cause or endorse something that he felt was for the good of mankind. He will be sorely missed.'' Hayes also acted in movies including ''Tough Guys,'' ''I'm Gonna Get You Sucka'' and ''Hustle & Flow.'' He had recently completed the movie ''Soul Men,'' in which he played himself; the film also starred Samuel Jackson and Bernie Mac, who died on Saturday after a bout with pneumonia. And a new generation of fans discovered the man behind ''Shaft'' when, in 1997, he became the voice of Chef on the Comedy Central show ''South Park.'' Hayes, a member of the Rock and Roll Hall of Fame, was pronounced dead at Baptist Memorial Hospital-Memphis in Memphis, Tenn., after collapsing Sunday afternoon near a treadmill in his home nearby. Steve Shular, a spokesman for the sheriff's office, said authorities received a 911 call after Hayes' wife and young son and his wife's cousin returned home from the grocery store and found him collapsed in a downstairs bedroom. A sheriff's deputy administered CPR until paramedics arrived. Stanback said he was shocked to learn of the death of the singer, who was about to start work on a new record for Stax, the label Hayes helped make legendary. In an industry filled with colorful and dynamic figures, Hayes was a standout on several levels, from his smooth baritone to his flamboyant style: It was almost as if he was made to be a musical god. But Hayes spent the early part of his career firmly in the musical background. A self-taught musician from Covington, Tenn., he made a name for himself playing with various bands around Memphis. In 1964, he was hired by Stax Records to be a backup pianist, working as a session musician for Otis Redding and others. He also played saxophone. He began writing songs, establishing a songwriting partnership with David Porter, and in the 1960s they wrote classic hits for Sam and Dave such as ''Hold On, I'm Coming,'' ''Soul Man,'' and ''When Something is Wrong With My Baby.'' They also wrote for other Stax artists including Carla Thomas. Hayes' work as a composer helped him secure a deal as a solo artist. His first album, ''Presenting Isaac Hayes,'' was a poor seller, the result of an impromptu jam session. But after getting creative control, he delivered his next album, ''Hot Buttered Soul'' in 1969, and it made him a star. Hayes offered something completely different to the musical world. In an era of straightened hair or Afros, Hayes was bald: ''His look was just so profound,'' Stanback said. ''He was like a superhero.'' Whereas other soul crooners showed their passion through wails, Hayes delivery was calm, cool -- almost subdued. He prefaced songs with ''raps,'' and they ran longer than typical standard of three minutes: One song, a cover of Glen Campbell's ''By the Time I Get to Phoenix,'' ran 18 minutes. ''(Radio) jocks would play it at night,'' Hayes recalled of his songs in a 1999 Associated Press interview. ''They could go to the bathroom, they could get a sandwich, or whatever.'' Next came ''Theme From Shaft,'' a No. 1 hit from the blaxploitation film ''Shaft'' starring Richard Roundtree. ''That was like the shot heard round the world,'' Hayes said in the 1999 interview. At the Oscar ceremony in 1972, Hayes performed the song wearing an eye-popping amount of gold and received a standing ovation. TV Guide later chose it as No. 18 in its list of television's 25 most memorable moments. He won an Academy Award for the song and was nominated for another one for the score. The song and score also won him two Grammys. In 1972, he won another Grammy for his album ''Black Moses'' and earned a nickname he reluctantly embraced. He was also part of the historic ''Wattstax'' concert in riot-ravaged Watts neighborhood in Los Angeles. Besides ''Shaft,'' Hayes composed film scores for ''Tough Guys'' and ''Truck Turner.'' He also did the song ''Two Cool Guys'' on the ''Beavis and Butt-Head Do America'' movie soundtrack in 1996. Additionally, he was the voice of Nickelodeon's ''Nick at Nite'' and had radio shows in New York City (1996 to 2002) and then in Memphis. Though his last big hits on the charts ended in the 1980s, Hayes' presence in contemporary music continued as his songs were sampled on numerous hits by rap and R&B performers, ranging from Ashanti to Public Enemy to Jay-Z. ''The rappers have gone in and created a lot of hit music based upon my influence,'' he said. ''And they'll tell you if you ask.'' Stanback said: ''A lot of artists owe Isaac his career because a lot of music was based on his foundation.'' He garnered another audience and cult following with his work on ''South Park.'' A school cook, Chef was in many ways the voice of reason in the otherwise outrageous animated social commentary, unwittingly imparting pearls of wisdom on the schoolboys who often came to him with their dilemmas; this, in spite of the fact that his foremost devotion was -- true to Hayes' music and persona -- being a ladies' man. In the 1999 interview, Hayes described the character as ''a person that speaks his mind; he's sensitive enough to care for children; he's wise enough to not be put into the 'wack' category like everybody else in town -- and he l-o-o-o-o-ves the ladies.'' But Hayes angrily quit the show in 2006 after an episode mocked his Scientology religion. ''There is a place in this world for satire, but there is a time when satire ends and intolerance and bigotry toward religious beliefs of others begins,'' he said. Co-creator creators Matt Stone responded that Hayes ''has no problem -- and he's cashed plenty of checks -- with our show making fun of Christians.'' A subsequent episode of the show seemingly killed off the Chef character. Hayes remained active in entertainment, even as he became a senior citizen. His Web site listed upcoming appearances and he was making plans for his Stax album. Stanback said it was to include Hayes' work on vintage tracks that he had left unfinished over the years. ''We were actually getting ready to schedule a trip to Memphis to talk to Isaac,'' he said. Stanback called his death a tragedy. ''Isaac Hayes was a wonderful human begin and his spirit will live long in the form of his music,'' he said. ------ On the Net: http://www.isaachayes.com ------ AP writers Bruce Schreiner in Louisville, Ky., and Nekesa Moody in New York contributed to this story.

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Comment by Moe Seager on August 16, 2008 at 8:09pm
Black Moses cried out in Hot Buttered Soul. Isaac has passed on, is Souled Out.
" I Stand Accused " was an anthem to aspiring young lovers. When it came out every young guy I knew practiced singing it, hoping to sound as gospel-truth soulful as Isaac! It was a soul song righteous enough to have you testify! The young ladies - they had meltdowns!! I never knew that Issac wrote so many great Stax songs for Sam and Dave, The Emotions, Carla Thomas, Otis Reading and Booker T. Issaac wrote some souled instrumementals too, like "Bootleg", Booker T's first national hit, in 1964. His music lives. His Soul -eternal.
Comment by Dr. Nelson Harrison on August 11, 2008 at 3:51am
Kurt (Isaac's bass player) is doing fine after a day of disbelief.
He had just flown back from Memphis last night where he was in rehearsal for a a Stax Records Review that was to be held in Philly at the Mann Theater with William Bell and Eddie Floyd this Thursday.

Ike was a humble and friendly man with everyone he met. He will be greatly missed.

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