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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November 16th, 2017

A Moment in Time: Artie Shaw and Roy Eldridge, 1944

In the fall of 1944, shortly following his medical discharge from the Navy, Artie Shaw formed a 17 piece band (without strings) that featured Barney Kessel on guitar, Dodo Marmarosa on piano, Ray Coniff on trombone, and the brilliant trumpeter Roy Eldridge, famous for his work with Gene Krupa’s band in the early 1940’s.  The band, according to noted critic Leonard Feather, was “quite impressive” and exhibited “a refreshing lack of bad taste and bombast.”

This era of Shaw’s band resulted in several excellent recordings, among them

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October 21st, 2017

A Moment in Time — Ella Fitzgerald and Dizzy Gillespie, 1947

In November, 1946, at the height of his popularity, Dizzy Gillespie took his big band out on the road, and in 1947 hired Ella Fitzgerald to tour the South. According to Ella’s biographer Stuart Nicholson, she had been added to this tour in response to Gillespie’s Hepsations tour in 1945, whose groundbreaking sound “had confused and confounded the southerners,” and because Ella could “create balance after the unrelieved diet of bop…The Gillespie band saw Ella as a former swing era star, light-years removed from what they were doing, a palliative to help their music go down with the public.”

Even with Ella, however, things could be challenging. The audience would “listen, stand around and applaud,” band member Howard Johnson said,” and try and pretend they dug it. I think they appreciated the artistry of Dizzy because

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August 17th, 2015

A Moment in Time — John Coltrane and Eric Dolphy, 1961

In 1960, Eric Dolphy told Down Beat magazine, “At home I used to play, and the birds always used to whistle with me. I would stop what I was working on and play with the birds.” This imitation of birds (who, according to Dolphy, sing in “quarter tones”) was embraced by none other than John Coltrane, who said that the addition of Dolphy — and his philosophy — to his quartet “turned [the quartet] all around.” Dolphy’s playing helped set the stage for the music Coltrane would create later.

Also critical was their friendship, which was especially important to Coltrane since he was so consumed at the time by his alcohol and heroin abuse. Quoting a Coltrane friend, John Fraim writes in his 1996 biography Spirit Catcher: The Life and Art of John Coltrane that “outside of Sonny Rollins, Eric Dolphy was his [Coltrane’s] only true

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December 12th, 2014

A Moment in Time — Monk and Coltrane at the Five Spot, 1957

The Five Spot Café, a club located in New York City’s Bowery neighborhood, was the site of a six month gig for the quartet of Thelonious Monk, John Coltrane, drummer Shadow Wilson, and bassist Wilbur Ware. This engagement — coming on the heels of Monk’s cabaret card reinstatement — marked the merging of two of the most original voices in American music, Monk and Coltrane, in a space where cheap beer and good music attracted some of the city’s most influential artists and writers. Regulars included Larry Rivers, Willem de Kooning, Franz Kline, Jack Kerouac, Frank O’Hara and Allen Ginsberg.

In Thelonious Monk: The Life and Times of an American Original, author Robin D.G. Kelley quotes Five Spot co-owner Joe Termini remembering the impact Monk’s quartet had on his club: “Once we hired Monk, all of a sudden the place was crowded every night. And frankly, in the beginning, I just didn’t understand any of it.”

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October 30th, 2014

A Moment in Time — Dizzy Gillespie, 1956

Dizzy Gillespie, with Yugoslav composer Nikica Kaogjera in tow, cycle the streets of Zagreb during a State Department tour designed to counter Soviet propaganda.

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During the peak of the Cold War, propaganda was king, and was especially played out in the non-aligned, emerging nation regions of the Middle East, Africa and Asia. Responding to what was termed by the U.S. State Department as the Soviet Union’s “gigantic propaganda offensive,” in 1954 President Eisenhower created the Emergency Fund for International Affairs, whose role would be to present American culture abroad for the purpose of demonstrating the benefits of freedom (and capitalism) on artistic expression. According to Penny Von Eschen, author of Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War, “Eisenhower resented Europeans’ depiction of the country as a ‘race of materialists’ and was distressed that ‘our successes are described in terms of automobiles and not in terms of worthwhile culture of any kind.'”

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February 19th, 2014

In this Issue

“The Jazz Photography Issue” features an interview with today’s most eminent jazz portrait photographer Carol Friedman, news from Michael Cuscuna about newly released Francis Wolff photos, as well as archived interviews with William Gottlieb, Herman Leonard, Lee Tanner, a piece on Milt Hinton, a new edition of photos from Veryl Oakland, and much more…

On the Turntable

This month, a playlist of 18 recently released jazz recordings by six artists -- Joshua Redman, Joe Lovano. Matt Brewer, Tom Harrell, Zela Margossian, and Aaron Burnett

Short Fiction

"Crossing the Ribbon" by Linnea Kellar is the winning story of the 51st Jerry Jazz Musician Short Fiction Contest

Poetry

Seventeen poets contribute to the Summer, 2019 collection of jazz poetry reflecting an array of energy, emotion and improvisation

“What are 4 or 5 of your all-time favorite Blue Note albums?”

Dianne Reeves, Nate Chinen, Gary Giddins, Michael Cuscuna, Eliane Elias and Ashley Kahn are among the 12 writers, musicians, and music executives who list and write about their favorite Blue Note albums

Pressed for All Time

In an excerpt from his book Pressed for All Time, Michael Jarrett interviews producer John Snyder about the experience of working with Ornette Coleman at the time of his 1977 album Dancing in Your Head

Art

“Charles Ingham’s Jazz Narratives” — a continuing series

Poetry

Poetry by John Stupp and Michael L. Newell

Art

Jerry Jazz Musician regularly publishes a series of posts featuring excerpts of the photography and stories/captions found in Jazz in Available Light by Veryl Oakland. In this edition, Mr. Oakland's photographs and stories feature Art Pepper, Pat Martino and Joe Williams.

Interviews

Maxine Gordon, author of Sophisticated Giant: The Life and Legacy of Dexter Gordon, discusses her late husband’s complex, fascinating life.

Short Fiction

“A Viennese Tale,” a story by Matias Travieso-Diaz, was a finalist in our recently concluded 51st Short Fiction Contest.

In the previous issue

Michael Cuscuna, Mosaic Records co-founder, is interviewed about his successful career as a jazz producer, discographer, and entrepreneur...

Coming Soon

An interview with Nate Chinen, director of editorial content at WBGO Radio, former New York Times jazz writer, and the author of Playing Changes: Jazz in the New Century.

Contributing writers

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