Oct 22, 2003 6 min read

By Mark O’Keefe Herald-Standard

This weekend will be a homecoming of sorts for jazz pianist Benny Green when he comes to Pittsburgh’s Manchester Craftsmen’s Guild for a series of concerts with guitarist Russell Malone.

Green’s father grew up in Pittsburgh, spending his first 20 years in the city before moving to Manhattan. A semi-professional jazz saxophone player, his father passed on both his love of Pittsburgh and jazz to his son.

“I love coming back to Pittsburgh because I always run into someone who says they knew my father, and I hear a lot of great, old stories about him,’ said Green. “My father got his love of jazz growing up in Pittsburgh, and he passed his appreciation and passion for jazz onto me.

“Pittsburgh has such a rich history of jazz. Everyone knows about all the great jazz musicians that have come from the city,’ added Green. “I’m just thankful that I’m getting a chance to come back and play there.’

Green has played with a number of those great jazz musicians from Pittsburgh over the years, including such legends as drummer Art Blakey and bass guitarist Ray Brown.

Greene has particularly fond memories of Brown. In fact, Green and Malone dedicated their recently released live CD “Jazz at the Bistro’ to Brown, who died last year after an illustrious 60-year career in jazz.

“Ray Brown meant so much to me,’ said Green. “There’s not a day that goes by that I don’t think or talk about him. I was blessed to have known him and to have played with him. He was so eager to play. Everytime he got on the bandstand, he put everything of himself into his playing. Every single time. He was so enthusiastic. He was like a youngster when he got up there and started playing.

“He also had a sense of honor and dignity. A lot of times older musicians would take younger musicians to task for asking uncool questions but he was never like that. He would always take all the time necessary to answer any of your questions.

“He was very proud to be from Pittsburgh. He used to talk about the great jazz musicians that came from Pittsburgh. People like Billy Eckstine, Roy Eldridge, Art Blakey and Erroll Garner. He really admired Erroll Garner,’ said Green.

Green said he played with Brown on numerous occasions in the 90s at the MCG and has fond memories of those times.

“It was great listening to Ray’s old Pittsburgh buddies come up to him and meet them. He always had a sense of joy in coming back home,’ said Green.

He noted that he has a warm feeling for the MCG, where he’ll be playing Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 7 and 9:30 p.m. and Sunday at 3:30 p.m. Tickets are $30. For more information call 412-322-0800.

“The sight lines and acoustics are excellent,’ said Green. “I really appreciate what the Ashby brothers are doing with that facility. The whole experience of playing there is just great. It’s one of the finest places to play anywhere.

“It’s also great to play in the same place for more than one show. There are precious few venues like this left. It really stands out now,’ said Green. “After playing in the same place for a couple of shows, you can adjust your ears and really develop a sense of trust and communication in playing. It’s just wonderful.’

Green has been playing the piano since he was 7, starting out as a classical player. However, he said his first instructor noticed his fondness for improvisation and urged his parents to have him start playing jazz.

“I didn’t realize at the time that she was liberating me,’ said Green. “Even then I didn’t like things too specific or too mapped out. I guess I just wasn’t wired for classical music. I like taking chances too much.’

Indeed, his life as a jazz pianist has been about exploring different opportunities. After growing up in Berkeley, Calif., Green moved to New York at the age of 20 and began working with singer Betty Carter. After four years with her, he joined Blakey and the Jazz Messengers from 1987-1989.

He moved then to Freddie Hubbard’s group and later to Ray Brown before leading his own band. In 1993 piano legend Ocscar Peterson chose Green as the first recipient of the City of Toronto’s Glen Gould International Prot?g? Prize.

Green eventually recorded several CDs with backing from Malone and bass guitar player Christine McBride. Green and Malone then collaborated on their live duo CD “Jazz at the Bistro’ and have embarked on an extensive tour. They’re in the midst of a 25-date tour, which will extend into next spring.

Green said it’s a “pure joy’ to play with Malone, who himself as maintained a dual career as a solo artist and revered session player for a number of high-profile artists, including Diana Krall, Wynton Marsalis and Harry Connick Jr.

“Russell is such a good friend, and he’s such a great musician,’ said Green. “He both challenges and supports me. I’m just so appreciative that I get a chance to play with him.’

Green said he knew from first talking to Malone that the two would get along.

“I remember very vividly the first time we talked. I asked him if he wanted to play on one of my CDs and it didn’t work out but at the time I was really struck by how serious he was about his music and just his overall demeanor.’

Green said they finally got to know each other when they played a double bill around 1995. Malone was accompanying singer and pianist Diana Krall at the time.

“We just started hanging out and playing until all hours after our concerts,’ said Green. “We started talking. We really liked playing with each other and decided to perform a duo. And we the knew within the first few bars the first time we stepped on the same stage that it was going to be great.’

Green said part of their rapport is that they both like to include the audience in their shows.

“We both have an appreciation for what the audience wants to hear,’ said Green. “I think if there’s a melody and a rhythm that the audience gets a feel for, then you can take chances. ut it’s important to get the audience involved in what you’re playing. There’s nothing better than making the audience feel comfortable and the warm feeling you get back from the audience.’