Art Tatum defined the limits of the possible in jazz piano. Gunther Schuller called Tatum's playing "a marvel of perfection.... His deep-in-the-keys full piano sonority, the tone and touch control in pyrotechnical passages...are miracles of performance." Whitney Balliett wrote "no pianist has ever hit notes more beautifully. Each one--no matter how fast the tempo--was light and complete and resonant, like the letters on a finely printed page." His famous runs have been compared to the arc left against the night sky by a Fourth-of-July sparkler. And to have heard him play, one musician said, "was as awe-inspiring as to have seen the Grand Canyon or Halley's Comet." Now, in Too Marvelous For Words, James Lester provides the first full-length biography of the greatest virtuoso performer in the history of jazz. Before this volume, little was known about Tatum, even among jazz afficionados. What were his origins, who taught him and who provided early pianistic influences, how did he break into the jazz field, what role did he play in the development of other jazz players, and what was he like when he wasn't playing? To answer these questions, Lester has conducted almost a hundred interviews for this book, with surviving family, childhood friends, schoolteachers, and the famous jazz musicians who played with him or knew him. Lester creates a memorable portrait of this unique musician and of the vibrant jazz world of the 1930s and 1940s, capturing the complexity and vitality of this remarkable performer. Tatum, who was virtually blind, suffering between 70% and 90% visual impairment, emerges as cheerful, fun-loving, energetic and out-going, with none of the demonic self-destructiveness that seemed to haunt such jazz greats as Charlie Parker or Billie Holiday. He often joked about his blindness, but did not like it mentioned as a handicap and preferred to pre-plan his entrance to the piano in a club, rather than have someone lead him there. He was simply inexhaustible and had a life-long habit of staying up all night after a gig, usually seeking an after-hours club in which to listen and play until daybreak. Lester also reveals that Tatum was generous with younger players, but his extraordinary technical brilliance often devastated them. No less a talent than Oscar Peterson remembers that after first hearing Tatum, "I gave up the piano for two solid months, and I had crying fits at night." And Les Paul remarked that after hearing Tatum for the first time, he quit piano completely and began playing guitar. Perhaps most important, Lester provides a thorough, knowledgeable discussion of Tatum's music, from his early influences, such as stride pianist Fats Waller, to his mature style in which Liszt, Rachmaninoff, Debussy, Waller, and Earl Hines all became grist for his harmonic mill. From unexceptional origins in Toledo, Ohio, Art Tatum evolved into a world-class musician whose importance in jazz is comparable to Louis Armstrong and Charlie Parker and whose command of the piano captured the admiration of Horowitz and Paderewski. Too Marvelous For Words is the first full portrait of this extraordinary musical genius.

Midnight feasts in dorms, jolly japes with chums, pranks on mad teachers and no boys whatsoever: THE REAL MALORY TOWERS LIFE from award-winning writer, Julie Welch. ‘As we spilled from the train we could hear loud revving and smell exhaust fumes, and there in the forecourt was a coach waiting to drop us all off at our various houses. I’d been living for this moment since I’d arrived at the school; since before that. . . We were all schoolgirls everywhere, past, present and future, real and imagined. We were Darrell and her chums at Malory Towers – except the school in front of me wasn’t quite the picture I had imagined. Suddenly I had this out-of-nowhere, waking up from a coma moment, as if I had been whisked away by a tornado or washed up by shipwreck on an unknown shore. Where was I? How did I get here? I was on my own, and now I would have to survive. . .' Too Marvellous for Words! is the wonderfully evocative and entertaining memoir of life in an all-girls boarding school in Suffolk in the early 1960s. Award-winning writer Julie Welch remembers her time spent at Felixstowe College, a long-lost world of arcane rules and happenings, when the headmistress and the Head of Science raced each other on public roads in their sports cars, and when having meringues for birthday tea instead of plain cake was branded ‘disgraceful’. As the social morals of post-war Britain collided with those of the decadent 1960s, Julie and her fellow pupils discovered Radio Caroline, fashion and the facts of life at the same time as playing lacrosse derbies, attending classical music concerts and sea-bathing.The years spent at Felixstowe College made a lasting impression on the girls who boarded there. Amidst all the fun, deeply emotional attachments were made, with some girls – whose parents were remote or absent – finding support from their classmates that they didn't get at home. Too Marvellous for Words! is the real Malory Towers life, full of character and charm, and serviing as both a memoir and a fascinating social history of a way of English life lived by 'young ladies' some 50 years ago.

Come and meet those dancing feet! The lyrics from "42nd Street" still evoke fantastic memories of Busby Berkeley and actress, dancer, and singer Ruby Keeler, who is best-known for starring with Dick Powell in musicals produced at Warner Bros., notably 42nd Street (1933), Golddiggers of 1933 (1933), Footlight Parade (1933), Flirtation Walk (1934), and Go Into Your Dance (1935). Ruby's life and career was no tap dance. Underage at fourteen, she first danced where the underworld meet the elite in New York speakeasies during the Prohibition Era. Plucked from obscurity and thrust onto Broadway in musicals, she captured the attention of Florenz Ziegfeld, and she soon appeared in his Whoopee! with Eddie Cantor and Show Girl (1929) with Jimmy Durante. Topsy turvy Hollywood converted to talking pictures that were first popularized by Al Jolson in The Jazz Singer (1927). Jolson met Ruby, and their eleven-year turbulent marriage swept the two of them into widely publicized movie successes, yet their acclaim stood on shaky ground. In this first-ever book by actor and singer Ed Harbur, discover Ruby's childhood, her early career, her idyllic second marriage, and her phenomenal return to Broadway after twenty-seven years to star in No, No, Nanette. Tragedy followed the triumph, when Ruby suffered a life-threatening stroke, yet she emerged to enjoy a long and successful recovery and served as a champion advocate for stroke victims. The four-part book spans sections devoted to Biography, Film Appearances, Stage Appearances, and TV and Short Subject Appearances. Illustrated with hundreds of never before seen photographs, including stage and screen productions and candid shots of Ruby at work and in private life. Index. Bibliography.

Classic ballads and beautiful love songs including: Autumn Leaves * Blues in the Night * Come Rain or Come Shine * Charade * Goody Goody * I Remember You * Moon River * That Old Black Magic * the lead song Too Marvelous for Words * and more. Sixty songs in all!

(P/V/G Composer Collection). Classic ballads and beautiful love songs including: Autumn Leaves * Blues in the Night * Come Rain or Come Shine * Charade * Goody Goody * I Remember You * Moon River * That Old Black Magic * Too Marvelous for Words (lead song) * and more. Sixty songs in all!

The seventh volume in Knopf’s critically acclaimed Complete Lyrics series, published in Johnny Mercer’s centennial year, contains the texts to more than 1,200 of his lyrics, several hundred of them published here for the first time. Johnny Mercer’s early songs became staples of the big band era and were regularly featured in the musicals of early Hollywood. With his collaborators, who included Richard A. Whiting, Harry Warren, Hoagy Carmichael, Jerome Kern, and Harold Arlen, he wrote the lyrics to some of the most famous standards, among them, “Too Marvelous for Words,” “Jeepers Creepers,” “Skylark,” “I’m Old-Fashioned,” and “That Old Black Magic.” During a career of more than four decades, Mercer was nominated for the Academy Award for Best Song an astonishing eighteen times, and won four: for his lyrics to “On the Atchison, Topeka, and the Santa Fe” (music by Warren), “In the Cool, Cool, Cool of the Evening” (music by Carmichael), and “Moon River” and “Days of Wine and Roses” (music for both by Henry Mancini). You’ve probably fallen in love with more than a few of Mercer’s songs–his words have never gone out of fashion–and with this superb collection, it’s easy to see that his lyrics elevated popular song into art.

A determined little spider named Walter is trying to make a sturdy web that will stand up to the blustery wind. The webs he makes at first are woven in special shapes--a triangle, a square, a circle--but they are still wibbly-wobbly. Can Walter make a web that is both wonderful and strong? This simple, vibrant adventure is a lively companion to our two previous Tim Hopgood "first books": Wow! Said the Owl, about colors; and Hooray for Hoppy!, about the five senses.