Pittsburgh's Own Regional Notables of Jazz
AFRO-AMERICAN MUSIC INSTITUTE CELEBRATES 36 YEARS
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Pain Relief Beyond Belief
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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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Duke Ellington is first African-American and the first musician to solo on U.S. circulating coin
MARY LOU WILLIAMS
INTERVIEW
METAPHYSICS OF MUSIC - Part 5 of 6
Comment
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Comment by Dr. Martin E. Rosenberg on April 27, 2009 at 1:49pm
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Nelson: You are on very solid ground here from the perspective of contemporary cognitive science. The term that they would use for what you discuss here is "Affect," which originally just referred to emotion, but which we now understand is _embodied_ not just in the senses (sound waves through the auditory canal registering on the inner ear affecting the emotive centers of the brain) but _proprioceptively_. The epidermis, the muscles, sinews, synapses, major nerve channels (such as the sciatica) all engage the event. You know that this is what _feeling_ really means, and your lived experiences as a musician of both becoming affected, and effecting this response in others, directly informs my own interest in jazz and cognition. While I've been largely focused on the affect of active performers, you are forcing me to reconsider discussing the affect of listeners, a territory discussed in the recent book _This Is Your Brain On Music_, which I think is from Cornell UP, or Princeton UP.
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Comment by PMT Studio on September 12, 2008 at 5:25pm
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Six Solfeggio Frequencies include:
1.
UT – 396 Hz – Liberating Guilt and Fear
2.
RE – 417 Hz – Undoing Situations and Facilitating Change
3.
MI – 528 Hz – Transformation and Miracles (DNA Repair)
4.
FA – 639 Hz – Connecting/Relationships
5.
SOL – 741 Hz – Awakening Intuition
6.
LA – 852 Hz – Returning to Spiritual Order
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