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!

 

Badge

Loading…

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

THURSDAY, SEPTEMBER 13, 2012

Loendi Club

Loendi Club on Fullerton Street
 from the Carnegie Museum of Art Teenie Harris collection

The music never stopped in the Hill for most of the twentieth century, and one of its famed venues was The Loendi Social and Literary Club. But the Loendi wasn't an organ house or one of the famous "Black and Tan" clubs like the Crawford Grill or Hurricane Lounge. In fact, it was so exclusive that you and I probably couldn't get past the doorman.

The club dates back to August 13, 1897, when it was founded by George Hall, best remembered today as the father of one the City's best athletes, Sellers "Sell" Hall. Sell pitched for the Homestead Grays, was a standout in hoops (he played for the Loendi Five, which regularly whipped college teams), football and track, and eventually became a music promoter for black acts.

The Loendi was named for an East African river that flowed from Lake Nyassa until it joined the Ruvuma River, and was mentioned several times in David Livingstone's (As in "Dr. Livingstone, I presume?") 1872 journal.

It was the Duquesne Club for the black elite. Its membership included Pittsburgh’s African American doctors, profession folk, business owners, entrepreneurs and celebrities. The Loendi offered lectures, music, and sponsored athletic teams beside providing a refuge from the teeming masses and a quiet meeting place for the area's black movers and shakers to do business.

The Loendi's early presidents were William Maurice Randolph, Esq., George Hall, WH Patterson, William Stanton Esq., Eddie Johnson, Captain CW Posey (Posey Steamboat Company), Samuel Pangburn, Ollie Jones, James Peck, John Henry, John Anderson, Sylvester Jones, William Hance Sr., Eugene Lewis, and Robert Vann (lawyer and Courier editor), all well established luminaries in the City's black community. William Taliaferro, Teeny Harris' uncle and mentor, was a founding member.

The original building was a converted three-story structure on 83 Fullerton Street (erased by the Civic Arena project, on the same street that former City Councilman and stage actor Sala Udin, then known as Sam Howze, was raised) on the corner of Wylie Avenue, a block below Crawford Avenue. The members bought it in 1902 for $100,000.

It didn't look very special from the street, but the local kids used to hang around outside just to watch the limos pull up to the nondescript clubhouse. If they could only have seen the inside... It had an atrium, a rosewood piano, artwork by Henry O. Tanner, plush carpets, tapestries on the walls and a library/reading room, along with billiard and card rooms. Its dining room had a steward.

As a private hall, the Loendi didn't hold many public events. They would hire local bands, never larger than quartets, to play for the members during weekends, for dances or for special events. More often than not, they just brought in a solo pianist. The club never had a bandstand, and as an older building, its rooms weren't particularly spacious. And it was most certainly not a venue for hard bop or Mississippi blues; the musicians played or reworked standards and the classier contemporary pieces, as befit the club's image.

Outside groups with the right connections could rent the building, too. For example, the FROGS (Friendly Rivalry Often Generates Success) society had many members with ties to the Loendi. They held dances there until the Arena project nuked the neighborhood and the club moved. FROG events were front page news for all the local African-American press (they still are), and usually quite a bit livelier than Loendi acts.

While they may not have been on the cutting edge, the Loendi could roll out the carpet for the big-time performers, and that's how it earned its rep in the Pittsburgh music scene. An invite to one of their private artist parties was a guarantee for a night to remember. The club featured or honored musicians like Billy Eckstine, Lena Horne, Sarah Vaughn, Count Basie, Jimmie Lunceford, Bennie Moten, Cab Calloway, and Louis Armstrong. High brow or not, the members did enjoy their swing, and sometimes even shared the swag.

According to Colter Harpers 2011 dissertation "The Crossroads of the World," here's what they did to celebrate Billy Eckstine (a bit redacted): "In 1952, the Loendi sponsored a week of events for Pittsburgh vocalist and bandleader Billy Eckstine, who was returning to the city to perform in downtown’s Stanley Theater...The events included the Loendi Formal at the Fort Pitt Hotel honoring Billy Eckstine; open house for Billy at the Loendi Club; teen-age party for Mr. B; Loendi press, radio and TV party at the club, and the big salute to Eckstine at the Famous Door (in East Liberty).” It's a wonder Mr. B got to perform while he was here!

But like everything else that got in the way of the Civic Arena, the Loendi's days in the Lower Hill were coming to an end. In 1958, they opened a new building at 841 Ledlie Street in the Upper Hill (off Bedford Avenue at the end of Cliff Street), an impressive and modern one story structure. It wasn't the same, though. Membership became easier to come by, and it eventually turned into more of a social club than haven for the elite.

Still, it had its moments. The biggest may have been on April 8, 1967, when 400 people elbowed into the Loendi to celebrate "Bill Powell Night," honoring the career of the WAMO/WILY DJ and Courier columnist. But as time went on, the club was suspected of harboring gambling and other illicit activities, and was sometimes even under police surveillance, who came to regard the Loendi as a party bar by the seventies.

It soldiered on into the early eighties. The last band we could find to play the club was Jothan Callins and the Sounds of Togetherness, featuring saxman Kenny Powell, and they may have sounded taps on the Loendi era in Pittsburgh music history.

1 comment:

Anonymous said...

George Hall was my Greatgrandfather. Enjoyed the article.

Views: 2

Comment

You need to be a member of Pittsburgh Jazz Network to add comments!

Join Pittsburgh Jazz Network

© 2021   Created by Dr. Nelson Harrison.   Powered by

Badges  |  Report an Issue  |  Terms of Service