Early in 1956, Norman Granz contracted the Trio to perform at the Stratford Shakespearean Festival. As usual, we followed our concert itinerary as it unfolded, and finally approached the date in Stratford. For some unknown reason (thank heavens) Norman decided that he wanted that particular performance by the Trio recorded for his record company at that time, Verve Records. We were scheduled to perform for two nights, and because John Lewis and the Modern Jazz Quartet were appearing in the area just prior to our performance, John volunteered to A & R (that is, musically supervise) the recording for me. At the end of the night I decided that I was not happy with the musical intensity the group had demonstrated, and John offered to stay over to supervise a second night of recording. Don't ask me what happened in the interim, but for some reason the group came in totally fired up and turned in what ended up being one of our finest concert performances. When we came off, John was ecstatic and stood in the wings grinning, embracing us as we came off the stage. I have always felt that John was tremendously proud of that performance and the ensuing album that came out of it. Knowing John's continual search for musical perfection, we too felt proud and pleased that John was so convinced this was a stellar performance. As it turned out, our satisfaction seems to have been warranted. The Trio At the Stratford Shakespearean Festival became one of our best-selling albums, and people to this day still request specific tunes from the album.



Over the years, John Lewis and I became good friends, facilitated by appearances on the JATP tours by both of our groups. I have always respected John for the direction that he had the courage to take the Quartet in. He had a deep and ongoing love and respect for various Classical composers and players. His own particular approach to the piano involved a simple and somewhat classical sensibility, while retaining the full intensity of a Jazz player. His compositions mirrored this love of the Classics. He was profoundly interested in how various players approached playing the piano – their phrasing, touch, and continuity. We often discussed various Classical performances and albums that we both enjoyed. Yet, at the same time, he had an equal and irrepressible love of some of the less cultured Jazz players.
I was in Barbados with my family during spring break when I was awakened one morning by a phone call from Norman Granz in Geneva who informed me of John's passing. To say that I was upset would be the understatement of the decade. The whole purpose of my vacation seemed to collapse, and the rest of my morning was spent in deep mourning. I have had a wonderful relationship with the staff of the Sandpiper Resort where we were staying, and when my favorite bartender, Carlos, heard of my depression, he decided to spend the rest of the day trying to brighten me and plying me with his famous rum punch drink. His therapy worked. By noon, I was feeling no pain and was able to shake off the sad haze that had taken hold of me.

I decided that I should try to pay tribute to John by writing a special piece for him, something that would capture his simple yet superbly melodic mode of composition and performance. This I think I was able to do, and I titled it Prelude for J.L. My present Quartet has been performing this piece on our recent concert appearances, including the Blue Note in New York, and I am most pleased, particularly for John, that the audiences have reacted so favourably to it. I intend to record this selection, and also have plans to present the musical score for it here on my website. John Lewis will live forever in the hearts of Jazz lovers.