By G. Eric Kuskey, Bettina Gilois

The incredible precise tale of artist Thomas Kinkade, self-described “Painter of Light,” and the dramatic upward push – and fall – of his billion-dollar gallery and licensing company.

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He always played that way," remembered Bill Dillard. "I think he taught himself to play, and without an instructor he didn't realize that that wasn't the typical way of playing. But by the time he found that out, there was no point in changing it. "23 The circumstances under which the band appeared in London were such that audiences had even less opportunity to hear Dizzy than in Paris. During the 1930s, a spirit of growing protectionism had led the Musicians' Union and the Ministry of Labour to clamp down on the issuing of work permits to visiting American bands.

Gillespie's reading skill got him the second chair plus the solos, and provoked a coolness between him and Collins that was to last for many years. Even this is not the full story. Normally, like many other bandleaders, Hill would have asked the opinion of his sidemen before even auditioning a new trumpeter. Both saxophonist Howard Johnson and guitarist John "Smitty" Smith claim that they lobbied for Hill to hire 36 II Groovin' High Gillespie, loyalty that was later repaid when both of them worked in Dizzy's own bands.

5 Dillard spent many months at the Savoy in various bands, but his observations confirm that the venue had a reputation that was more than just local. The dance hall catered both to listeners and dancers, and with a change of at least one of the resident bands every week, it had a throughput of many of New York's most accomplished jazz players. The majority of bands were black, but from time to time the great white swing orchestras like Benny Goodman's appeared there in "battles of music" with one or other of the regular resident orchestras.

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