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Art D'Lugoff, Village Gate impresario


brownie

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When I approached Art about having a fund-raiser at the Gate, he did not hesitate to approve. I foolishly did not keep count of tickets, never expecting that kind of turnout, so there were masses of people outside, holding tickets but unable to get in. Art solved the problem by calling in extra personnel and opening up the Top of the Gate venue. The artists (and there were many of them) each did two performances, appearing in both places. Monk headed straight for the kitchen, where he went to sleep, but when Jules gave him his cue, he went to work. It was a great evening, we were a radio station, we should have been recording!

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BTW More recently, I had many conversations with Art when there were plans for a Jazz Museum in Harlem. He had used his contacts in Washington to get influential people involved and he was dismayed when the people hired to set it up turned out to be unbelievably incompetent.

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Thanks, Chris! You sure kept a lot of wonderful jazz-related articles, notices and thanks for sharing your memories with us. I attended many concerts at the Village Gate and at least 2 benefits. I believe both benefits were for Papa Jo Jones, with every great drummer in town in attendance. The Gate was at the top of my list of venues featuring jazz.

Marla

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The old Village gate is now called Poussoin Rouge, or something. They have live events, but it's kind of 'edgy' cabaret. No more jazz.

I didn't realize that was the same place! They have modern classical music there too...Xenakis! Minimalists!

I went to the Gate a few times...they had some free concerts there as part of the Village Jazz Festival. I wonder if I still have the t shirts.

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Had two memorable Salsa Meets Jazz nights there in 1980 One was Lou Donaldson/Ray Baretto (w/ the great Sal Cuevas on bass, whatever happened to him?), & some just-into-the-city Cuban boat refugee drummers, two of whom turned out to be Daniel Ponce & Ignacio Berroa, playing an intermission set that freaked everybody out. I didn't realize until recently, but the influx of the Mariel refugees really upset (in several ways) the then predominantly Puerto Rican NYC Salsa scene. The other one was Charlie Rouse/Conjunto Libre, w/some really hot charanga band alternating sets.

Those were great nights, great music, great crowds, great vibes, great club (huge, but great). Anybody who did it like that is ok by me. RIP, and thank you.

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