• This edition of “Great Encounters” tells the story of the evening in c. 1930 that Louis Armstrong taught Buck Clayton how to perform a trumpet technique known as the “gliss”

  • In an excerpt from an interview with the drummer Art Taylor, Garner describes how he wrote his most famous composition, “Misty”

  • From red kite country, driving South,
    Dai Grandpa, fresh from yesterday,
    such yesterday. Only when the
    June sun sank, had Dai – dudein’
    up my shirt front, puttin’ on
    the shirt studs – reached evening’s land

     

     

  • “Cotton Candy on Alto Sax” by Julie Parks is the winner of the 46th Jerry Jazz Musician Short Fiction Award

  • Great Encounters #51
  • Where Erroll Garner wrote "Misty"
  • Two poems by Robert Nisbet
  • "Cotton Candy on Alto Sax" - by Julie Parks
Features » A Moment in Time

Where Erroll Garner wrote “Misty”

The legendary pianist Erroll Garner’s most famous composition, “Misty,” was written as an instrumental in 1954 for his 1955 album Contrasts.  Lyrics were added in 1959 by Johnny Burke and it became the signature song of Johnny Mathis, and was subsequently recorded by Sinatra, Sarah Vaughan, Etta James, and countless others.  Garner’s version was inducted into the Grammy Hall of Fame in 1991.

In this excerpt from an interview with the drummer Art Taylor, Garner describes how he wrote “Misty:”

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Literature » Poetry

Two poems by Robert Nisbet

From red kite country, driving South,
Dai Grandpa, fresh from yesterday,
such yesterday. Only when the
June sun sank, had Dai – dudein’
up my shirt front, puttin’ on
the shirt studs – reached evening’s land
– and such a yester-e’en. (Dai caught
the breeze, his ship came home.)
He breakfasts now in wild kite

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Literature » Short Fiction

“One Suitcase” — a short story by Wayne Cresser

     Henry Bell wished the actress on the TV interview show wouldn’t smile so much. Most show folk, he thought, were not memorable. They were things, as he had written in one of his songs, made on the cheap from neon and crepe. Sometimes he believed it too. Then he’d remind himself that human beings wrote all kinds of wonderful tunes, like “The Wind” — the number that had made his mind reel when he was very young and made him think he could write songs.

     “The Wind” was eight, maybe nine, minutes of continuous jamming colored in with jazzy chords, an understated vocal and poetry. As a kid, listening to Dick Summer’s Subway show late at night on his transistor radio, stuck under the pillow to muzzle its volume, he thought he could trek into “The Wind” and the journey through its changes would be endless.

     Now, nearly forty, he wasn’t a kid anymore, and jazz-inflected rock music wasn’t his thing. At some point too, he’d decided that Circus Maximus was a pretty dumb name for a

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Features » Historic Journalism

Art Tatum on 52nd Street

In this entertaining short excerpt from Arnold Shaw’s 1971 homage to the jazz clubs of New York,  52nd Street:  The Street that Never Slept, Ralph Watkins, owner of legendary New York City clubs like Kelly’s Stable, the Royal Roost (the famed chicken restaurant nicknamed the “Metropolitan Bopera House” due to it being near the Metropolitan Opera House) and Bop City, remembers the blind pianist Art Tatum:

“The 52nd St. performer that stands out in my mind is Art Tatum, above everyone else.  Not only his musicianship but the fire in him.  He had a way when he was annoyed.  When people were talking during his playing, he’d stand up, bang the piano shut, stare in their direction, and tell them off:  ‘Quiet, you

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