Great Encounters #9: The first meeting of Duke Ellington and Billy Strayhorn

Excerpted from Lush Life : A Biography of Billy Strayhorn by David Hajdu

Shortly after midnight on December 1, 1938, George Greenlee nodded and back-patted his way through the ground-floor Rumpus Room of Crawford Grill One (running from Townsend Street to Fullerton Avenue on Wylie Avenue, the place was nearly a block long) and headed up the stairs at the center of the club. He passed the second floor, which was the main floor, where bands played on a revolving stage facing an elongated glass-topped bar and Ray Wood, now a hustling photographer, offered to take pictures of the patrons for fifty cents. Greenlee hit the third floor, the Club Crawford (insiders only), and spotted his uncle with Duke Ellington, who was engaged to begin a week-long run at the Stanley Theatre the following day.

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September 29th, 2004

Great Encounters #8: When Chet Baker played with Stan Getz, 1953

Excerpted from Deep in a Dream: The Long Night of Chet Baker by James Gavin

On August 12, the (Baker) quartet made its earliest known live appearance in a concert at LA’s Carlton Theater. But not everybody trusted Baker to stand on his own. With (Gerry) Mulligan in jail, John Bennett had paired Baker with Stan Getz, another baby-faced wunderkind whose feathery, cascading solos, even more detached than Baker’s, had made him a fellow prince of West Coast cool. Getz had won the 1952 tenor polls in Down Beat and Metronome by a landslide, while Baker still ranked low in the trumpet categories. The two addressed each other politely enough, but they loathed each other almost on sight, as their live duo recordings suggest:

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August 31st, 2004

Great Encounters #7: When Gene Krupa hired Roy Eldridge

Excerpted from Roy Eldridge: Little Jazz Giant by John Chilton

The booking at the Capitol was extended into 1941, but Roy’s long term prospects looked no better than they had a year earlier. However, Roy’s old friend drummer Gene Krupa was about to offer him a life-changing opportunity. Krupa had finished his stint with Benny Godman almost three years earlier and was now one of the foremost bandleaders of the era. Krupa’s Band played at the Hotel Sherman in Chicago during late 1940 and Gene often visited the Capitol (with his wife Ethel and manager Frank Verniere) after he’d finished his sets. Sometimes Roy went off with Gene to find a nightspot on the South Side where they could jam and eat ribs. During this Chicago stay Roy, as ever, was always game for an “after-work” blow,

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July 29th, 2004

Great Encounters #6: When Bing Crosby met Louis Armstrong

Excerpted from Bing Crosby: A Pocketful of Dreams by Gary Giddins

To hip musicians in Chicago, scat had been the rage for months. Bing and some of the other adventurous musicians in Whiteman’s band heard it that very week from the master himself, Louis Armstrong. If mobster Al Capone ruled the city, Armstrong ruled its music. Whatever he played was instantly picked up by other musicians. The previous spring Okeh issued his Hot Five recording of “Heebie Jeebies,” and it caused a sensation, selling some 40,000 copies thanks to his inspired vocal chorus – a torrent of bristling grunts and groans in no known language.

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June 22nd, 2004

Great Encounters #5: When Richard Rodgers met Lorenz Hart

Excerpted from Lorenz Hart: A Poet on Broadway, by Frederick Nolan

A few days later, (Philip) Leavitt took young Richard Rodgers around to the Hart house. Larry Hart met them at the door. They were a study in opposites. Dick was fresh, tanned, athletic, handsome, a high school champion swimmer and tennis player. Larry was unshaven — according to Rodgers, Hart invariably looked like he needed a shave every five minutes after he’d had one — and wearing a bathrobe over an evening shirt and trousers, with carpet slippers on his feet. He was already talking — and doubtless puffing a cigar and rubbing his hands together as he invariably did — as his visitors climbed the steps,

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May 21st, 2004

Great Encounters #4: When Rahsaan Roland Kirk appeared on Ed Sullivan’s last show in 1971

Excerpted from Bright Moments: The Life and Legacy of Rahsaan Roland Kirk, by John Kruth

(Mark) Davis then sent the Ed Sullivan show a letter warning them that they were next. With its live audience and numerous commercials, the Jazz & People’s Movement would surely throw the show off its tight schedule. Sullivan’s people thought it over and decided it was best to make peace with the J&PM rather than risk a disruption of their show. “I brought the talent coordinator of The Ed Sullivan Show to see Rahsaan and he really dug his version of “My Cherie Amour,'” Mark continued.

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April 20th, 2004

Great Encounters #3: The Lester Young and Coleman Hawkins Kansas City battle

Excerpted from Lester Leaps In: The Life and Times of Lester “Pres” Young, by Douglas Henry Daniels

(Lester) Young earned recognition for being not only a stylist but a saxophone “freak” – not a pejorative term at all but rather a comment on his unparalleled virtuosity. He “could make a note anywhere” on his instrument. Certain notes were usually produced by depressing specific keys or combinations of keys on the saxophone (or valves on the trumpet and cornet), but “freaks” found ways to defy convention and orthodoxy by means of “false fingerings” and adjustments of the mouth and lips, or embouchure. The trombonist-guitarist Eddie Durham explained that “Coleman Hawkins and Chu Berry and those guys, they fingered it correctly with what they were doing.

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March 29th, 2004

Great Encounters #2: When Miles Davis hired John Coltrane

Excerpted from A Love Supreme: The Story of John Coltrane’s Signature Album, by Ashley Kahn

Miles Davis was desperate. He was in the midst of preparing for his first national tour arranged by a high-powered booking agent, and Columbia Records — the most prestigious and financially generous record company around — was looking over his shoulder, checking on him. “If you can get and keep a group together, I will record that group,” George Avakian, Columbia’s top jazz man, had promised. To Miles, an alumnus of Charlie Parker’s groundbreaking bebop quintet, “group” still meant a rhythm trio plus two horn players, but he still had only one: himself.

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February 22nd, 2004

Great Encounters #1: When Charlie Parker played for Igor Stravinsky

Excerpted from Jazz Modernism, by Alfred Appel

Charlie Parker enthusiasts circa 1950 often declared him the jazz equivalent of Stravinsky and Bartok, and asserted that he’d absorbed their music, though skeptics countered that there was no evidence he was even familiar with it. Parker himself clarified the issue for me one night in the winter of 1951, at New York’s premier modern jazz club, Birdland, at Broadway and Fifty-second Street. It was Saturday night, Parker’s quintet was the featured attraction, and he was in his prime, it seemed. I had a good table near the front, on the left side of the bandstand, below the piano. The house was almost full, even before the opening set

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January 29th, 2004

In This Issue

In this issue, 25 noted critics, writers, musicians and artists answer the question, “What are some of your all-time favorite record album covers?”…Also, an interview with Romare Bearden biographer Mary Schmidt Campbell; ”And so we left for Paris” a short story by Sophie Jonas-Hill; two new podcasts by Bob Hecht (one on Paul Desmond, the other on Art Farmer); 18 poets contribute 20 poems to our March poetry collection; new jazz listening recommendations; and lots more…

“What are some of your all-time favorite record album covers?”

Gary Giddins, Jimmy Heath, Fred Hersch, Joe Hagan, Maxine Gordon, Neil Tesser, Tim Page, Veronica Swift and Marcus Strickland are among the 25 writers, musicians, poets, educators, and photographers who write about their favorite album cover art

Short Fiction

"And so we went to Paris," a short story by Sophie Jonas-Hill

Poetry

Eighteen poets contribute 20 poems in the March collection

Interviews

Romare Bearden biographer Mary Schmidt Campbell discusses the life of the important 20th century American artist

The Joys of Jazz

Two new podcasts from Bob Hecht -- on Paul Desmond, and Art Farmer

Poetry

“King Louis en le toilette” — a poem (and collage) by Steven Dalachinsky

On the Turntable

Recommended listening…Check out these 18 recently released jazz recordings by Branford Marsalis, Anna Maria Jopek, Ralph Alessi, Larry Grenadier, Jon Cowherd, Stephane Galland, Mathias Eick and the Jimbo Tribe

Art

“Thinking about Robert Johnson” — a photo narrative by Charles Ingham

Great Encounters #54

In this edition, Joe Hagan, author of STICKY FINGERS: .The Life and Times of Jann Wenner and Rolling Stone Magazine, writes about how co-founders Wenner and legendary San Francisco music critic Ralph Gleason came upon the name for their revolutionary publication, Rolling Stone magazine.

Cover Stories with Paul Morris

In this edition, Paul writes about jazz album covers that offer glimpses into intriguing corners of the culture of the 1950’s

Coming Soon

An interview with Maxine Gordon, author of Sophisticated Giant: The Life and Legacy of Dexter Gordon

In the previous issue

The February, 2019 issue features an interview with Thomas Brothers, author of Help! The Beatles, Duke Ellington, and the Magic of Collaboration…Also, previous winners of the Jerry Jazz Musician Short Fiction Contest reflect on their winning story; two new podcasts from Bob Hecht; a new collection of poetry; recommendations of recently release jazz recordings, and lots more…

Contributing writers

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