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Live At The Village Vanguard, For 75 Years

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Live At The Village Vanguard, For 75 Years

Music News

Live At The Village Vanguard, For 75 Years

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Robert Siegel, host:

And we have one more anniversary today, this one in New York City where clubs can come and go in the blink of an eye, but one has been in the same dingy basement on 7th Avenue for 75 years, the legendary Village Vanguard, a jazz club known around the world.

The Vanguard's Web site says that tonight is the actual anniversary, but the club is celebrating all week.

Lara Pellegrinelli descended its famous stairs, and she has this report.

LARA PELLEGRINELLI: Ask Lorraine Gordon, the Village Vanguard's impresario, about the secret to the club's longevity. She'll give you a direct answer.

Ms. LORRAINE GORDON (Owner, Village Vanguard): It's not fancy. It's not pretentious. It doesn't serve food. It doesn't take credit cards. It doesn't allow cell phones or cameras. It doesn't do a lot of things, but it does give good music.

PELLEGRINELLI: The wedge-shaped room, which only seats 123 people, boasts more than just good music.

Mr. PAUL MOTIAN (Drummer): Good sound, beautiful sound.

PELLEGRINELLI: Drummer Paul Motian made his first Vanguard appearance with the Bill Evans trio in 1957.

Mr. MOTIAN: You can hear everything. You hear yourself better. You hear the other musicians better. And it's totally acoustic.

PELLEGRINELLI: Of the more than 100 albums recorded at the club, Motian appears on eight of them, including the Evans' classic, "Sunday at the Village Vanguard."

(Soundbite of song, "Sunday at the Village Vanguard")

PELLEGRINELLI: The Vanguard didn't start out to become one of the premier jazz clubs in the world. Lorraine Gordon's late husband, Max, actually opened the Vanguard in 1934 on nearby Charles Street. The Lithuanian immigrant who'd been raised in Oregon told filmmaker Bruce Ricker that his parents dreamed he'd be a lawyer.

(Soundbite of recording)

Mr. MAX GORDON (Founder, Village Vanguard): But I didn't want to be a lawyer. Nevertheless, in order for me to come to New York to get away from home, I had to matriculate at Columbia, which I did. I just went through the motions of matriculating. I knew I was going to leave soon.

PELLEGRINELLI: To hang out in Greenwich Village.

Ms. GORDON: He was a Bohemian. He loved writing. He hung around the Village, and poetry was the thing, and he hung out with poets in some big cafeteria that was in the neighborhood. Finally, he decided to open a place, but it wasn't a place of business, he thought. It was just a place to get the poets down so he could sit and listen to them.

PELLEGRINELLI: But he couldn't get a cabaret license to do that because the Charles Street location only had one toilet. In fact, the first time authorities came to bust him, Gordon reportedly said: But this isn't entertainment. It's poetry.

(Soundbite of recording)

Unidentified Man #1: Poem to a Rose. Red rose that grew flat. The revelry has died. And now with petals loose, you lie beside the girl, the bottle in the windowsill, the snore, the crumpled $20 bill.

PELLEGRINELLI: Literary types like Max Bodenheim helped establish the club, but a group of unknowns called The Revuers put it on the map after it moved to 7th Avenue in 1935. The Revuers included actress and comedienne Judy Holliday and the songwriting duo of Betty Comden and Adolph Green.

(Soundbite of music)

Unidentified Woman: (Singing) I find to my surprise that I would give my last penny to be the lifelong slave and spitting image of Sonja Henie.

Unidentified Man #2: It's mutiny.

Unidentified Woman: (Singing) I want to be fluffy. I want to be blonde. My cheeks must be puffy, I want an ice pond(ph). I want to go skating about on the rink. I want a cyclist. And I want to wear pink.

Unidentified Group: Oh.

PELLEGRINELLI: The slate of performers who followed includes Lenny Bruce, Miriam Makeba, Pete Seeger, Woody Allen, Harry Belafonte and Barbra Streisand.

Max Gordon only turned his attention to jazz when television began to drain his talent pool in the 1950s.

(Soundbite of applause)

Unidentified Man #3: (Unintelligible)

PELLEGRINELLI: The basement room is steeped in jazz history. Black-and-white photos of musicians who played there line the walls: Coltrane, Mingus, Miles, Roland Kirk, the Heath Brothers.

Mr. ROBERT GLASPER (Pianist): It's just an honor and a privilege to even be here and play, you know, and see those guys on the wall. I was like: Wow, I'm playing here. Tommy Flanagan just played this piano. Barry Harris played this piano. You know, so it's just - it's amazing.

PELLEGRINELLI: Pianist Robert Glasper has worked with Mos Def, Kanye West and Maxwell, but says the Vanguard is his favorite place to play.

Mr. GLASPER: I feel like the spirit of a lot of the musicians who have passed away are still here, and they're agreeing with us, and they're, like, yes, keep it alive.

PELLEGRINELLI: Glasper is one of the many newcomers the club books to do just that. And they're happy to play there, even if they can't get a bite to eat.

For NPR News, I'm Lara Pellegrinelli in New York.

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