As a jazz musician, I strive to optimally hone my playing skills by practicing and gigging as often as possible. Additionally, I devote a great deal of time and energy toward expanding my knowledge of music theory through research and reading. Of the multitude of texts I have delved into over the years, John Mehegan’s books on jazz stand apart as especially informative and helpful. The author of a comprehensive series of instructional tomes, Mehegan also shared his love and understanding of jazz as an educator and writer for a number of acclaimed jazz-centric publications.
Prior to his death in April 1984, Mehegan maintained a commendably full schedule working as a critic and reviewer for Downbeat magazine, among others, also offering an insightful perspective of his chosen art form via lectures on basic and advanced jazz theory, as well as improvisation techniques. John Mehegan embarked on his career as a professional jazz musician in the late 1930s, playing small shows across the state of Massachusetts. After relocating to New York City in 1941, Mehegan soon landed a recording deal with Savoy Records, a label that supported a vast array of talented artists in their journey to stardom.
In 1945, Mehegan laid down four tracks at Savoy’s studio, moving on to accept a position as a professor at Juilliard, a world-famous school of performing arts. Throughout the 1950s, Mehegan played and wrote with drive and passion, recording a total of four albums for Savoy from 1954-1956. Garnering accolades for his accomplishments as a piano soloist, Mehegan teamed up with Eddie Costa, another pianist, and Vinnie Burke, forming a cohesive trio for the mid-1950s Savoy sessions.
In 1959, John Mehegan partnered with trumpet player Kenny Dorham to record for a label named Request, leaving the United States later that year to tour in South Africa. Mehegan’s experience on this international tour was problematic, however, as he was unduly criticized for “fraternizing” with black musicians. Like most jazzmen of the day, Mehegan opted to focus on his art alone, ignoring any bigotry he encountered. Mehegan undertook his last recording session in 1960.
James Pastman 