In 1994 I went to Pinewoods because I'd started to call ECD and needed more of a repertory. Until then I'd only heard Laurie Andres's versions of the tunes, so I commented to Paul as we neared the top of the hall that you were playing a familiar dance with very different chords than I was used to.
The next time through the tune you played a different wrong chord for every note, but it was a chord that had the melody note in it—it was harmonic chaos but not dissonant. We laughed ourselves silly and people were shushing us—apparently without dissonance, the chording was just fine with them. That was my first encounter with you—musical genius, great sense of humor and strong connection to the dancers on the floor. You've enriched my life and my dancing with your music, but also with the you-ness of you—your warmth, sense of humor and superb musicianship.
Paul's comment is to tell you the Bestock rule that we don't leave the hall until you leave the piano. The dance would end, you would turn and talk to people and everyone would start to leave. The music seemed to be over for the night. But then your hand would wander behind you and start noodling a tune, and soon you'd turn back and let the other hand join in and we'd be dancing to a tango or a waltz, or swing. He remembers those after-dance-moments as special. Thank you for the music and the joy of your presence in our lives.