This cartoon by Bruce Eric Kaplan was originally published in The New Yorker on April 20, 1992
He had beautiful hands — hands with long, slender fingers meant to caress ivory piano keys. Knuckles, she knew, were never the most flattering part of anyone’s body — gnarled and raisin-like skin stretched over delicate bones. And yet, there was a certain beauty in the way his knuckles bent and flexed over the piano, so she protested bitterly when he became a mechanic to make ends meet.
“We’ve got bills to pay,” he said with a matter-of-fact shrug, “And I can always
It doesn’t help
that my guitar starts complaining
a 1935 Epiphone Broadway
probably had owners who were better players before me
and probably was in show business
when there was such a business
“Great Encounters” are book excerpts that chronicle famous encounters among twentieth-century cultural icons. In this edition, Art Blakey tells a story of Thelonious Monk, Coleman Hawkins and John Coltrane that took place during the 1957 recording session of Monk’s Music.
This bassist played in Ornette Coleman’s early bands before eventually leading the Liberation Music Orchestra, where he became known as one of free jazz’s founding fathers. Who is he?
Go to the next page for the answer!