Gerde's Folk City at 50

TODAY IN 1961: ZIMMY GETS ON STAGE AT GERDE'S FOR THE FIRST TIME

2012-02-06T12:38:00.005-05:00

Fifty one years ago today: according to Clinton Heylin's book Stolen Moments, February 6th 1961 was the Monday where Bobby Dylan played the Gerde's Folk City Hoot for the first time. Back then, everyone was a complete unknown and had to draw a number from the hat to determine the order of appearance on the famed stage. At some point in later years, Folk City employed the use of a numbered deck of playing cards chosen by randoms face down to figure out the pecking order for the Hootenanny. The peformance rule for Hoots....rarely followed to the letter...was 3 songs or a 15 minute time limit. With chatty musicians and the potential for relentless story telling through song, it's no wonder the Hoots started early and ran well into Tuesday morning. Dylan was turned away the week before because of his youthful looks. He was just one of 2 or 3 dozen singer/songwriters who showed up every Monday to play for free.

Bobby would end up doing a string of open mics at Gerdes well into March. By then, he had befriended Dave Van Ronk and his wife and part-time promoter, Terri Thal. Van Ronk and Thal had enough pull with Mike Porco to convince him to sign the kid up to eventually be an opening act at Folk City. That would come later, on April 11th 1961, when he would open up for John Lee Hooker. In the meantime, this Dylan kid's name had been circulating around the square. The applause meter in Mike's head probably told him that he just may have the goods. And if you had the goods, odds were, you gained a following. And if you "had-a the following" as my grandfather used to say, you were always welcome to play at Gerde's. In a little over a year's time, Bob Dylan's following would be in the millions and couldn't be contained within Gerde's alone.

The Hootenannies on 4th and Mercer were already becoming legend before Robert Zimmerman even left Dinkytown. Many of Greenwich Village's soon-to-be stars got their first attention and accolades from their exposure on the Folk City stage. Gerde's was already "on the map," but because of Bob Dylan's success born there, Mike Porco never had a shortage of artists flocking from all over the country to try and become the next big star. Tom Paxton, John P. Hammond, Phil Ochs, David Bromberg, José Feliciano, Paul Simon, The Roches.....into the 70s with Willie Nile, Steve Forbert, Jack Hardy, David Massengill, Lucinda Williams.....you get the picture.

A LIFETIME BETWEEN 117 AND 116 MACDOUGAL STREET

2012-01-31T17:06:00.009-05:00

Here's a riddle:
What's the difference between 117 and 116?
Answer: 34 years.

Well, at least that's the answer when we're talking about Tom Pacheco and those MacDougal Street addresses. Tom rented an apartment at 117 MacDougal Street and hosted some of the most star-studded songwriter's circles back in the mid-to-late 1970s. On Saturday, February 25th, 2012, he'll be doing a gig on his old street for the first time in over three decades, performing at the club at 116 MacDougal.

That club, of course, was the world famous Gaslight Café. After several other alterations of that very space, it is now more conspicuously known simply as 116 MacDougal. The music and spoken word-driven venue has re-opened its doors fancying itself on becoming the proud custodian of the history and tradition of the diverse artistry once on display there.

Pacheco will be sharing the stage with another name familiar to the Gaslight: Amram. Legendary composer and Jack Kerouac collaborator, David Amram, will have his Family name represented by his daughter, Alana Amram. This will be Alana Amram's first time gracing the stage at 116 MacDougal. She was practically raised "on the road" having musicians as parents and over the years, she has been able to carve out a Folk Rock style she can call her own. With her band, The Rough Gems, she's toured the country and currently is in support of her latest album release, Snow Shadows. It's a spirited album illuminating the songs of another Village luminary (and fellow Brooklynite), Vince Martin.

Oddly enough, even though Tom Pacheco lived practically across the street from the Gaslight, this will only be his second appearance at 116 MacDougal. Some recording stars didn't play the Gaslight very often because they were regular performers at one of the several other clubs in the Village. Tom Pacheco was one such performer. He was loyal to the Gerde's Folk City crowd and when he took paying gigs in the Village, they usually were there. Richie Havens also can be described that way. He played Gerde's occasionally but not as often as the Cafe Wha?, a club that became his home turf.

THE VILLAGE GASLIGHT CAFÉ

First open in 1958, The Gaslight was a relative latecomer to the MacDougal Street coffeehouse circuit. Even so, The Gaslight holds the distinction of being ground zero for Greenwich Village's pivot from the 1950's Beatnik Era into what became known as the Folk and Blues Revival era. Spoken word and bongo drumming became less popular as artists expressing themselves through song took over the Village crowd. It drew aspiring singers from all over the country as the 1960's "Folk Scare" grew and grew. Its location on the street may have played a large role in its popularity with the musicians. At night, it was (and still is) the most heavily traveled part of the Village. On top of that, it was directly downstairs from the alcohol-serving bar, The Kettle of Fish. One only need to walk upstairs for a swig and walk back downstairs to play on stage.

Even my grandfather's place, Gerde's Folk City, couldn't claim such distinction as it was known strictly as a Folk, Roots, Blues and Gospel venue. Although it had a liquor license, it was somewhat of a "destination" bar as it was all the way across the Square on 4th and Mercer. Not until the 70s did Gerde's welcome spoken word and comedy onto its stage.The Gaslight Café, however, offered its patrons diverse entertainment from the get go. Personalities the likes of Jack Kerouac, Bill Cosby, Mississippi John Hurt, Allen Ginsberg, Dave Van Ronk, Tom Paxton, Gregory Corso, Jimmy James (later known as Jimi Hendrix), and Gerde's favorite son, Bob Dylan, overlapped as booked acts on the Gaslight stage.

Several of the 1960s Folk stars who were playing for a hat full of quarters at places like the Café Wha? and the Gaslight graduated to what Dave Van Ronk called in his memoir "the first honest-to-God Folk club in the Village," Gerde's Folk City. Once Folk City was up and running in early 1960, Singer/Songwriters looking for a shot at super stardom, aspired to play its Union wage-paying room for the increase in exposure. Performers like Bob Dylan, Phil Ochs, John Hammond Jr. and Peter, Paul and Mary would be discovered on the Gerde's stage, but they started out by playing the baskethouses to gain recognition with the music lovers of the street. As Peter Yarrow relayed to me, the Gaslight, Cafe Wha? and Gerde's were home to him as the 1950s became the 1960s. Even still, some Folk Singers continued to play pass-the-hat rooms like the Gaslight well into their recording careers.

Tom Pacheco remembers those magical days in the Village well. Part premonition, and perhaps part fate, Tom has been putting the finishing touches on a new song entitled, "MacDougal Street." I was in the audience when he played it on stage for the first time just two months ago. That's when I told him about my new venture, FRIENDS OF MIKE PORCO, a production company looking to bring Gerde's Folk City veterans to the stage at 116 MacDougal. Having Tom be the inaugural headliner was not only timely and logical, it was meant to be.

PACHECO'S EARLY YEARS

Like Alana Amram, Tom grew up the offspring of a famous musician. His father, Tony, toured pre-WWII Europe along side master Jazz guitarist, Django Reinhardt. Learning Flamenco and Classical styles early on, it soon was 1950s Rock and Roll that Tom played the most. Later, the Folk music that spawned out of New York beckoned him to Greenwich Village to become an artist.

Tom first showed up on MagDougal Street from his hometown of New Bedford, MA in 1965. His first all-original Folk vinyl release came out that year when he was just 19 years old. Later, known more as a Rocker in a band called The Ragamuffins, he occasionally shared the stage at the Wha? opening up for Jimmy James and The Blue Flame (AKA Jimi Hendrix) in Greenwich Village before Jimi exploded on the UK scene.

It wasn't long until Tom was known to all the other musicians in the Village and in 1974, two of his gems were recorded by Richie Havens and Jefferson Starship. Co-written with Victorio "Roland" Mousaa, "Indian Prayer" landed on Havens' Mixed Bag II album. "All Fly Away" was recorded on the Starship's Dragonfly disc. Tom, meanwhile, never stopped writing original material, and around that time, started to host Songwriter gatherings in his apartment on MacDougal Street. Friends and acquaintances would sit in the round, drink wine and polish off songs that would later become part of the historic fabric woven into the Music scene that is still buzzing in Greenwich Village.

With a handful of albums under his belt, it was time for a change of scenery for Tom. In 1978, he moved to Woodstock but his songwriter exchange concept was carried on in the Village by fellow Folk City performer, Jack Hardy. Tom's un-named 117 co-op was the forerunner to the songwriter exchange later known as Fast Folk. Jack would become legendary as host of songwriter workshops in his Bedford and Houston apartment that lasted every Monday for 35 years until his unexpected death in March 2011.

As Richard Cuccaro wrote in Acoustic Live in March 2009:

Right as Tom was leaving the Village for Woodstock (then later, Texas, Nashville and Ireland), a group of songwriters would gather at The Cornelia Street Cafe to critique each other and eventually record their music. Before that, however, Tom's apartment at 117 MacDougal Street was the first place the Fast Folk crowd would gather to play. The list includes Jack Hardy, The Roches, Rod MacDonald, David Massengill, and Steve Forbert. Tom stayed up late and everybody came through there. He heard all their new songs. One night Roger McGuinn came by to play "Chestnut Mare," a classic Byrds song. Another night in January, 1976, writer Larry "Ratso" Sloman, brought Phil Ochs over. Phil had already gone through a severely depressed episode. He picked up Tom's guitar and asked if he could play a song, asking Tom what he'd like to hear. Tom requested "Pleasures of the Harbor." Phil, appearing eerily calm and quiet played it. He said, "Inspiration used to strike. It doesn't strike any more." Soon afterward, in April, he hung himself. Tom was shattered.

LIFE AFTER 117 MACDOUGAL

Between 1978 and 1986, Tom based his operations in the musical hubs of Woodstock, Austin, TX and Nashville. In 1987, a six week invite to Ireland became a 10 year stay. Tom never stopped writing and had 6 album releases in Europe.

By 1997, Pacheco had returned to Woodstock once again and has been there ever since. In the year of his return, he recorded one of his seminal albums, Woodstock Winter. Friends and Woodstock locals, Levon Helm and Rick Danko of The Band, leant Tom a hand in the recording. Danko would record two more of Tom's songs on his posthumously released album, Times Like These and in 1998, The Band would record "High Cotton" and "If I should fail," two more songs co-written by Tom on Jubilation, their final studio album. In 2002, the Pacheco and Roland Mousaa composition "Indian Prayer" received new recognition, this time with Ol' Pete Seeger playing banjo on the new recording. Tom Pacheco's new CD, Luminol, is the latest release in a recording career that started over four decades ago. Luminol exemplifies Pacheco's extraordinary ability to weave an inspiring message into the fragile subject matter of today's world.

The circle is almost complete. He'll be playing songs from his storied odyssey on Saturday, February 25th at 116 MacDougal -the former Gaslight- just a stone's throw from where it all began for one of the most prolific songwriters of our generation.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

ABOUT FRIENDS OF MIKE PORCO

  This will be the first in a series of unique "one night stands" hosted by FRIENDS OF MIKE PORCO the production company started with the intent on carrying on the tradition and legacy of Gerde's Folk City's original owner, Mike Porco. For two decades, Folk City offered a stage to established stars but also allowed the next generation of Folk, Rock and Roots musicians to blossom and flourish.

Doors open at 5. Show at 7. $10 at the door. SPACE IS LIMITED. Two for one drinks 5pm-7pm

Advance tickets may be purchased here:

http://www.eventbrite.com/event/2772034229/efblike

.

TOM PACHECO ALANA AMRAM POSTER

2012-01-24T22:04:00.002-05:00

BREAKING NEWS- PORCO/GASLIGHT VENTURE ANNOUNCED

2012-01-18T17:20:00.006-05:00

FOR IMMEDIATE RELEASE
Media Contact: Lanie Zipoy | 646.399.8650 | lanie.zipoy@gmail.com

TOM PACHECO AND ALANA AMRAM CONCERT SET FOR
116, HOME OF THE FORMER GASLIGHT CAFÉ,
SATURDAY, FEBRUARY 25TH

New York, NY, January 19, 2012 -- The world famous coffeehouse at 116 MacDougal Street comes alive again as the former Gaslight Café, now known as 116, hosts a night of acoustic folk music on Saturday, February 25, 2012.

Tom Pacheco, one of the most prolific songwriters of our time, headlines the double bill with starlet Alana Amram, daughter of legendary composer David Amram.

Tom Pacheco's new CD, Luminol, is the latest release in a recording career that started over four decades ago. Luminol exemplifies Pacheco's extraordinary ability to weave an inspiring message into the fragile subject matter of today's world. Tom’s father, Tony Pacheco, was a jazz guitarist who played with Django Reinhardt as well as solo in the clubs of Europe before returning to the U.S. to raise a family and open a music store, where he also taught guitar. Tom released his first solo album, Turn Away from the Storm, in 1965.

Alana has forged a musical career of her own. Her latest work, Snow Shadows, is a spirited album illuminating the songs of another Greenwich Village luminary, Vince Martin.
From 1958 to 1971, the Gaslight Café served as the incubator for some of the most in demand folk musicians, poets and comedians in America. Famed artists, including Bob Dylan, Jimi Hendrix, Bruce Springsteen, Wavy Gravy, Jack Kerouac, and Allen Ginsberg, often graced the West Village stage.

This concert will be the first in a series of unique "one night stands" hosted by Friends of Mike Porco, who was the former owner of Gerde's Folk City where Bob Dylan made his 1961 debut.

Doors open at 5:00 pm. The show is at 7:00 pm. Tickets are $10 at the door or in advance at https://www.eventbrite.com/event/2772034229.

For more information, visit www.116macdougal.com or http://folkcityatfifty.blogspot.com/.

###

ABOUT 116
In the former Gaslight Café space, 116 opened in 2011, and a new strain of history began. Under the ownership of Blk Market Membership’s Memo Erkaya, and Bar 13′s Thomas Sullivan and Larry Blum, the legend continues. Music, poetry, bands and DJs; cocktails and beers flow daily. New additions to the space include a jukebox and a photo booth. House WiFi is complimentary and the phone lounge is at the top of the stairs. For more information, visit www.116macdougal.com.

ABOUT FRIENDS OF MIKE PORCO LLC
Friends of Mike Porco LLC is a production company set up by the grandson of the founder and former owner of the legendary Greenwich Village club, Gerde's Folk City. Upcoming shows and performances produced shall continue in the tradition that made Gerde's world famous: Providing a stage to established recording stars as well as the new generation of Folk, Rock and Roots musicians.

BRUCE LANGHORNE: Tambourine Man - VERY FIRST solo album release from Gerde's original one man house band

2011-12-10T21:33:00.008-05:00

A cursory look at Bruce Langhorne's bio and musical credits, one may think that somewhere along the line he would've had at least ONE album of his own mixed in. Not so...until now.

Released in November, the aptly titled TAMBOURINE MAN is a collection of tracks (a few waiting in the can for some 20 years!) that capture several facets of the man himself. Not an easy task considering his resume and cast of friends and associates.

While a young man, native New Yorker Bruce Langhorne took his chops to Greenwich Village in the early '60s where he had the opportunity to befriend and perform with a who's who list of Folk Revival up and comers.

One of those friends was an established recording artist named Brother John Sellers. Although Bruce and Gospel Singer Brother John never recorded anything formal, it was their association forged at Folk City that effectively was a showcase for Langhorne's ability to play strings behind a wide variety of acts. He made a career of recording BEHIND a diverse crowd, but at Folk City, he played LIVE along side them. It became evident to all that he knew his way around a guitar.

Langhorne and Sellers became the Gerde's Folk City house band in the early days as Brother John MC'd quite often and would normally have Bruce accompany his Gospel singing. Bruce met a host of other musicians there and began his recording career playing with another set of Gerde's alumni, The Clancy Brothers and Tommy Makem. He was hired by Texas Songbird Carolyn Hester to play guitar on her 1961 Vanguard release and that was where he first recorded with harmonica player, Bob Dylan. Both Ms. Hester and Mr. Dylan are just a couple in a long line of Folks won over by Bruce's personality.

Bruce made friends easily in the Village and proved himself in the studio by making other songwriter's recordings better.

From his website www.brucelanghorne.com:

Bruce Langhorne was one of the most important session guitarists of the 1960s, particularly in the early years of folk-rock. He is most famous for playing on some of Bob Dylan’s records, particularly 1965′s Bringing It All Back Home, Dylan’s transitional release from folk to folk-rock. However, he actually played with numerous musicians making the change from folk to folk-rock in the second half of the 1960s, including Tom Rush, Richard & Mimi Fariña, Richie Havens, Gordon Lightfoot, Eric Andersen, Fred Neil, Joan Baez, and Buffy Sainte-Marie. He also played on some other instruments; performed live with Bob Dylan, Judy Collins, the Fariñas, and others; and produced Ramblin’ Jack Elliott. He has also done soundtrack work, including scoring Peter Fonda’s The Hired Hand.
~ Ritchie Unterberger

When new Gerde's sensation Dylan got his own recording contract, the two reunited in the studio for the Freewheelin' sessions and, more predominantly, on the BRINGING IT ALL BACK HOME album. It was Bruce who inspired Bob's song, Mr. Tambourine Man, hence the name of his debut album.

"We thought of other titles," Bruce says deadpan, "but that was the only one that seemed to make any sense." To all who know Bruce, he is more a force of nature than man. Thirteen songs can hardly explain his true nature, but they provide a glimpse into the kind of person he is and the character he possesses.

If you're looking for finger-pickin' Folk Rock and Roots, look elsewhere. What you'll hear is a one-of-a-kind blend of Latin, Spiritual, Jazz, African and Funk atmospheres succinctly wrapped around impassioned stories and sentiment only Bruce weave.

Songs like 'Hard headed woman,' 'Subaru,' 'Chihuahua' and 'Perfect love' give the listener a sampling of Mr. Langorne's wit. Sprinkled in with such entertaining tales are even more musically intricate World beats. 'Samedi' ends in a near-rap and the bluesy 'Bottom of the sea' has a serious tone but 'Aunt Sally' and 'Mary' balance out any heavy thoughts. 'Mary' is a take on 'Mary had a little lamb that both Jim Henson and Paul Simon would approve of. (You'll just have to listen for yourself to understand!)

The layered sounds on 'The wind' and 'Angels' seem to capture Bruce's spiritual nature. 'The Wind,' with Bruce's famed Turkish drum in the forefront, has a tribal quality where 'Angels' has the ethereal sound of an ascenscion towards heaven. As the whimsical wrap up to the disc, it seems like the perfect music to play for someone floating to a better place wearing smiles and rainbows and a big white loincloth:)

I've only spent a few hours with the man on two separate occasions but I can honestly say that his positive nature is contagious and palpable. Where his memory fails him, his charm and sense of compassion take over.

Unabashedly, part of the marketing material for TAMBOURINE MAN state that "All proceeds go directly to Bruce." Well shouldn't they? It's only been 50 years in the making. He's seen the ugly side of the music business. He shouldn't have to be shy about being honest. If the executives at Starbucks heard the sounds on this record, it would sell a million copies!!

I had the rare opportunity to purchase my copies of the disc directly from Bruce at his home in Venice, CA. As we made the exchange, I had the bright idea to write a review of the CD for this blog. As I mentioned it to Bruce, with impeccable timing, he says, "If sales slump, I can say it was because your review was shit and that Bob Porco is a fucking liar."

~~~~~~~~~~~~~~~~~~~~~~~~~

Living on his property is a visual artist and his budding family. Bruce gushes about the infant saying that the baby already knows what it's taken him a lifetime to learn. I ask what he means and to give an example, he recites a message he once received in a fortune cookie: A place is reserved in paradise for those who make their companions laugh.

'Nuff said.

[step one: log on to brucelanghorne.com]
[step two: Buy the disc...and get some hot sauce while you're there]

GEORGE HARRISON- Gerde's barfly?

2011-11-30T23:07:00.002-05:00

It's been a decade since my personal favorite Beatle has left us. The anniversary of his passing reminded me of a story my father, Bob Sr., passed on to me.

Long ago, long before there was a Nelson or Lucky Wilbury, there were two buddies named George and Bob. They had met in the early Sixties and had remained friends as their respective careers took shape in their own due course.

Well, one day, in the early 1970s, Bob Sr. popped in to Folk City to say hi to his father, Mike Porco. Bob said, "How's business, Dad?" Mike said, "Not-a so good, Robert. It's-a been a little slow."

Bob Sr. looked at the bar and only two guys were there having an afternoon beer. Business may have been slow at times at Gerde's but it was never dull. The two daytime drinkers?...George and Bob

11.11.11 SMALLER CROWD, BIGGER STAKES Joan Baez performs at OWS

2011-11-11T23:11:00.003-05:00

I've had the great honor to meet many of Gerde's graduates in recent weeks. Not long ago, there were first time meetings with Bruce Langhorne and George Gerdes. That same weekend, I had a reunion of sorts and a casual drink with Lucinda Williams. On September 25th, it was another reunion with Roger Sprung, Peter Stampfel, Terri Thal, Eric Weissberg and Barry Kornfeld. That same day, I met Paul Prestopino. On October 21st, a backstage invasion at a Clearwater event reunited me with Pete Seeger, David Amram, Guy Davis and Lucy Kaplansky. My hijinx were rewarded with first time meetings that evening with Suzanne Vega, Louden Wainwright, Tom Chapin and Arlo Guthrie. An historic march insued after that show as Seeger and Amram led the charge to "Occupy Columbus Circle" with music. Guthrie was there waiting for 400 protestors, myself included. (Gainfully employed, well heeled protestors...not only the unemployed and unwashed as the media may portray)

If it sounds like I'm patting my own back...well, maybe I am. Perhaps I should add to that by saying that I think I've done a fabulous job of not mentioning anything political on this blog. Quite a task, indeed, considering that world events have forever been topic matter for Folk Music artists. Folk artists, in turn, have always lent a helping hand to the movements themselves. Sometimes they merely foster awareness by lending their names and star power to civic causes they believe in. In other situations, they may find themselves at or near the tip of the spear, connecting leaders and their message to the rest of the world through the power of song. Few occasions in our history can we point to peaceful and pivital change having a soundtrack. America in the 1960s was such an age. The music, predominantly Folk, was being created for the times as they were happening. Those people creating it also brought it to the masses themselves.

Of course, most notably was the reluctant voice of his generation, Bob Dylan. His anthems of "Blowin in the wind" and "The Times they are a-changin" helped define the civil rights and anti war Movement of the mid twentieth century. The facilitator of that change was Dr. Martin Luther King. One of the most pivotal moments in time was his "I have a dream" speech given on the steps of the Lincoln Memorial in Washington, DC. Sending their musical message to the global crowd from those very steps moments before were Bob Dylan, Len Chandler and Joan Baez.

Ms. Baez was back in front of a crowd today using her siren's call once again in opposing the modern version of social inequality. The crowd was smaller but the stakes couldn't be any larger. Why do I say that? Well, it might be that, at this writing, the world economy is imploding on itself and the destructors who exacted the damage are in damage control as they desprately attempt to save the system the same way they always have: Putting the tax payers of the world on the hook in order to bail out failed banks, corporations and even entire nations. The people have finally had enough. Millions of jobs have been lost. Purchasing power has been erroded. Lies had been told by our leaders. And now thousands of like-minded citizens are finally off the couch and on the streets rising up, as it were.

The Occupy Wall Street movement is still unfolding. Day 55 as I write this. It's a leaderless revolution with a strong message of disgust and disenchantment of the economic warfare being waged against the free people of this world. Yet the objectives, demands and expected outcomes cannot be universally described by its participants. The "OWS" crowd is a modern day pot pouri of leftists, rightists and everyone in between of all ages. It has the feel of the 1960s except the "victims" appear to be everyone plugged into the rigged system. As my Grandfather Mike was quoted as saying about working through the flailing music business of the 1970s: We're all in this together.

The Occupy core group has proven to be a resiliant bunch. The exposure they've demanded by the corporate media has only brought more closet dissentors out of the woodwork. Ninety nine percent of the people cannot possibly be on the same page, but they all can see when something is seriously wrong. The current movement has also brought out the very figures who have stood tall against corporate oppression since early in their careers. Graham Nash and David Crosby performed at OWS last week. Peaceful sit-ins have sprung up worldwide. Some not so peaceful responses have also occurred but it has only strengthened the call for more solidarity amongst the People. And with that come the names from the past who have always believed that music has power and magic in it.

Today was Joanie's turn. And I couldn't pass up the chance to get close. She made her way to NYC and I just had to make my way downtown on the subway. Sure enough, as has been the case so often since I've chased friends of Mike Porco, she appeared right before me as I wandered "backstage" into a 12x12 foot tent where she was warming up. I told her who I was and a look of happiness ran across her face. She leaned her pretty head back as if to almost have a belly laugh only to nod back to the present moment to meet my eyes with a look of understanding. Her past met my future. She had known through her manager that I was on her trail to discuss Gerde's and Mike Porco. Her touring schedule made that difficult. But today was all about making conscious contact..... Shake her hand....show her that my intentions to pass on the Gerde's legacy are real and to make sure that she knows I'd like to see her again. I had no right to spend time with her any more than the other hundreds that were there but I made a point to get close. The Porco name travels well. I can tag along right til the end without her handlers poking a finger in my chest asking "who are you?!" I know that she's working and I ask only for a moment.

We held hands a few seconds as I asked for a photo with her. I've lived long enough to know when someone is real and when someone is putting you on. She's real. I've met enough of the Folk City performers to know if someone was "just a performer" there or if someone got to know Mike Porco and got to know Gerde's. Joan knows. This blog entry could rattle on for a while denoting the connections between her, Gerde's, Mike Porco and Gerde's favorite son, Bob Dylan. In short, she was there. She was there in the 60s and she came back to celebrate Gerde's 25th anniversary in 1985. Joanie knows Mike.

I thanked her warmly for the moment. I told her that I hoped I'd see her again. And for some reason, thanked her for coming as if I spoke for the OWS. In a way, she did come for me because, after all, we're all in this together

ROLLING THUNDER ROLLS THROUGH GERDE'S FOLK CITY 10/23/75

2011-10-23T10:57:00.006-04:00

It was an unseasonably warm Thursday in late October of 1975. It was Mike Porco's 61st birthday. It had been sixteen years since he first invited acoustic music performers into his Italian restaurant. They came to Gerde's in droves as the 1960s began and New York's first open mike night was born out of necessity. The term "talent night" was voted down so Greenwich Village's first Folk-only cabaret (read: paying room) borrowed a term from Pete Seeger and dubbed its singer/songwriter amateur night the Hootenanny. One of those amateurs in particular was set to return to Folk City to wish Mike a Happy Birthday in person.

In 1961, a young man from the Midwest tried to work his way onto the stage at Folk City. Being so young and looking even younger, Mike told the boy to return the following Monday with proof of age before he could allow him to play. In February of 1961, Bobby Dylan, two weeks removed from his Minnesota departure, played his first Hoot and made himself known to the Gerde's crowd.

Gerde's, meanwhile, became known for showcasing only established and up-and-coming recording artists for their weekly bookings. Back then, a union booking consisted of 12 sets over 5 nights. The Monday night Hoots were taken very seriously by the unknown performers but for the headliners, this gig was their bread and butter. Touring stars like Ed McCurdy, Liam Clancy and Tommy Makem, Brother John Sellers, Carolyn Hester, Sandy Bull, Cisco Houston, Sonny Terry and Brownie McGhee, The Tarriers, John Lee Hooker, The Greenbriar Boys and Rev. Gary Davis were among Gerde's first year's performers. There was no shortage of outstanding talent and entertainment in the Village back then and it only begat more quality singer-songwriters to sign up for the Hoots.

Throughout the years, thousands of music lovers witnessed music history written on Gerde's stage. By 1975, thousands more musicians had come to New York City to make their own contribution to the Greenwich Village Folk Music Scene. Arguably, none were more successful, more influential or more monumental in reviving the world's interest in Folk than Bob Dylan. During the first decade and a half of his career, he helped define and then RE-define the Folk Rock genre itself.

Even so, Bob Dylan had had ups and downs on his career path. The 1966 motorcycle accident, the retreat from touring and not-so-well received releases of Planet Waves and Self Portrait had some believing that his best days were behind him. With the '75 release of "Blood on the Tracks," he had re-established his place as the premier songwriter of his generation. The follow up album, "Desire," had silenced critics further and this period has been looked back upon as one of his most productive and best sounding eras of his life. He was ripe for a tour.

Unbenownst to Mike Porco, his place was chosen as the first venue to see and hear the spectacle that became known as the Rolling Thunder Revue.

Larry "Ratso" Sloman has graced us with the most intimate account of the tour in his book "On The Road With Bob Dylan." From the final studio sessions for the Desire album to the Night of The Hurricane, Ratso takes us backstage, onstage and into the semi-private moments surrounding the music legend making history. How the Rolling Thunder Revue wound up at Folk City is told with spectacular detail.

In a nutshell, Dylan was recording in NYC. Word had travelled around the Village that Mike Porco was having a small birthday party organized for him by relative newcomer Jack Hardy and other club regulars. Dylan, Jacques Levy, Roger McGuinn and others were known to be socializing after hours at the White Horse Tavern and other back rooms at the time. Mention of Mike's birthday reached Bobby and the impulse to gather at Gerde's for an intimate party took hold. From there, it wasn't long before the rattle of Dylan's unannounced gig was passed on in tight circles around town.

Folk singer Rod MacDonald retold his story to me about how word got to him. He was waking from a late-day slumber that Thursday afternoon and haappened upon the Mayor of MacDougal Street, Dave Van Ronk. They shared a few blocks walking together when someone came up to Dave to tell him that old friend Bobby would be playing a "secret" engagement that night at Gerde's. Dave, less than thrilled to see Bob's entourage worshiping at his feet, let out a big sigh and said he was only going to pop in to wish Mike a Happy day but he wasn't sticking around. He turned to Rod, however, and said "You should go. You shouldn't miss it."

Rod was in good company. In the growing crowd were such luminaries as Bette Midler, David Blue, Phil Ochs and Allen Ginsberg. People were "hanging from the rafters" and, as Rod recalled, a strange vibe engulfed the club. It seemed that everyone knew that Dylan was in town but Mike. Earlier, a film and camera crew had assembled in the club telling Mike that it was all being set up for a TV special on the local public station, Channel 13. The lighting etc was actually a set up for the filming of "Renaldo and Clara." Several hours of the night were filmed there but only a few seconds were used in the movie. As it turned out, the last known footage of Phil Ochs was taken that night.

Jack Hardy and the duel act undercard played full sets that night even after Dylan had arrived. He was dropped off at the curb and as my father remembers, the sea of people split down the middle to allow Gerde's Own to sit right at the stage. No announcements were made for some time. Performers just got on the stage and took over where Hardy left off. The illustrious Rosie, the occasional MC, was plucked from the crowd to perform her duties quite unplanned. Eventually Dylan got up and was reunited on stage for the first time in 7 years with old flame, Joan Baez. A scant many pictures exist from that night but one photo shows them on the tiny stage at Folk City with Eric Andersen. The night ended in the wee hours with Buzzy Linhart and Bette Midler perfoming their hit, Friends.

*********************

Oh, by the way, a cake was presented to my Grandfather and happy birthday was sung by all of his friends and admirers. It was promptly dropped face down onto the floor of Folk City. Very apt indeed. (wink) What mattered most to him, as he was quoted as saying, was that they all had a chance to get together again. Such as the music business was in the mid-seventies, singers could no longer make a living in their own neighborhoods any more. Some had to be on the road constantly. Others were forced to get real jobs. And others, like Judy Collins or Paul Simon, were too large to play a 90 person room anymore. But, for the most part, whenever they had a chance, they'd stop in to see Mike and wish him well. Even Bobby Dylan, at the height of his career, this date all those years ago.

WASHINGTON SQUARE BLUEGRASS AND OLD TIME MUSIC REUNION

2011-09-26T08:20:00.006-04:00

It was a great honor to be a part of the festivities at the 8th annual Washington Square Bluegrass and Old Time Music Reunion. Organizer Jeannie Myers has the routine down to a science and takes no guff from other musicians not part of the open jam session between the legends of Greenwich Village Old Time Music.

I had first been spoted by a former Gerde's patron. She noticed my name tag and had nothing but fond memories for my grandfather and Folk City.

As I approached the Square from the Broadway side, I spoted Hal Wylie. I took off my shades hoping he'd recognize me from our meeting at the Folk City at 50 party. We also met last August. I had driven to Connecticut to see Roger Sprung on his 80th birthday and I had presented Hal with a 5x7 of himself back in the summer of '10. To my great pleasure, Ol' Hal's eyes grew wide from under his everpresent Stud hat as we shook hands. I knew within a moment or two, I'd be running into Sprung.

But as has been the case for the last 60 years, Roger Sprung was busy pickin'. I made sure to go say hello to Roger later in the day when his hands were resting. It never quite happened. I had to interrupt him when he was about to start another song. At one point, I had even seen him pluck away at the galvinized tub basin.

I was glad to see Roger pose for a picture with former teenager, Eric Weissberg. The mind reels at the thought of Roger and Eric playing in open jam sessions when Eric was only a boy of 14. But here they were again over 50 years later. Their careers behind them. Still playing for keeps.

And "Deliverance" co-icon Steve Mandel was also there, hanging with Eric most of the time. Steve was the guitar pro who went toe-to-toe with Julliard's banjo playing Weissberg on their landmark soundtrack.

Along another short stroll to rub elbows, I spoke crap with Terri Thal and Barry Kornfeld. Norman Savitt gawked at the crowd with me as did photog extraordinare and Folk aficianado Frank Beacham.

Paul Prestopino was a target of mine. I wanted to at least make person-to-person contact with someone who only knew of me through an unsolicited "friend request" (snicker). The mere concept of how Facebook has connected me to my grandfather's past is still baffling to me. Paul and I had joked that we've all become slaves to communication... Joked how people walk the streets with a 3 inch screen in front of their faces.

Paul is an interesting story in that he replaced, not one, but TWO well known Greenwich Village alumni. First, he was one of two guitarists to replace Roger (Then Jim) McGuinn as acompanists to the Chad Mitchell Trio. He later replaced Erik Weissberg as the new bangoist for the Greenbriar Boys.

Sharp dude. Still plays just as sharp. Of note, only he and I were manly enough to wear bandanas on our heads that day.

When I say there was a LOT of jammin' and pickin' going on, I really mean a fucking LOT!! I had my guitar with me and I joined in near the end but I couldn't keep up. I kept trying to chase the chord changes by watching the pros and in the end I wasn't playing loudly enough for myself to hear...I was just making it appear as if I were playing along.

No, I couldn't keep up with those old folkies. They were running all afternoon as fast as they could. They sung every song they knew and then played them with a different crew hours later.

It was interesting to note how much space a small group really needs to create a band in the round. One small band can play within spitting distance to a like-sized band and not interfere. One particular time was when we were all posing for the Annual's group photo. The shots took only a moment yet no one really moved. So given the opportunity, Sprung and Wylie, a bow fiddle and a couple of banjo players started to play and music filled the air once more. So within moments, the other random super-group on the other side of the photo op took off into an oldie of their own. And they were all off and running again.

And this went on and on. If anyone ever wanted to get a good sense of how it used to be, this was quite the magical facsimile....or so I'm told. I can only imagine an earlier time when music in the park rang like this at all hours of the day. It still does. But the performers in the park today are just nobodies to me. Damn near hoodlums. The liklihood that this many RECORDED artists regularly assemble elsewhere in the city all at once to play music is 0%!!

Well done Jeannie Myers!

Not only is a permit secured a year in advance to avoid conflicts, its chosen venue location and what the Square represents to these Folks cannot be understated. And this year, the weather was ideal. Past reuinions have been held in elements unkind at times but on top of everything else, Ms. Myers secures an indoor backup, as well.

A recurring figure, now known personally as well as via the dreaded Facebook, was Peter Stampfel. What a Gem!! Banjo and fiddle alongside showing his wares with groups, every and all. He gravitated towards the fellow genius Prestopino and they both struck it up when given the chance to. When skies obscurred the warming rays, things heated up music wise. More musicians came out of the woodwork who had had careers of their own in other clubs in other worlds. One thing in common was their love for the power of song and, in addition for many, this was nothing new to them.

More crowds of musician circles formed. More tourists and observers were standing on benches to get a better look. Music fans happening to stumble upon the reunion found themselves asking around to determine the names of the performers. Others just couldn't resist the level of skill they were witnessing. "Lots of fingers flying," said one amazing attendee.

The Seeger group showed up from the Sloop Club in Beacon. The Sprung group showed up from Connecticut. The Manhattan group was represented. The Woodstock ilk showed. Central Jersey. Long Island. Upstate. Pennsylvania and other states for sure. Some by air travel. Impressive clientele for a bluegrass reunion.

By the look on everyone's eyes, this get together was something they all look forwward to attending. I missed it last year. Didn't know about it until it's 5th year. But I'm probably never to miss another Washington Square Folk and Old Time Music Reunion again. Always an incredible array of characters. This is one of the greatest reunion ideas imaginable.

BROTHER BruBru AKA MR. TAMBOURINE MAN

2011-08-29T11:31:00.005-04:00

"There's a misunderstanding about me...truth is," he says as his eyes widen, "I don't like hanging out with musicians."

The joke goes over well as all in the room have a good laugh at the apparent untruth. "They act as if there is nothing left to learn. They feel that since they have this gift, that they're closer to God. Not me, of course," he adds as a punchline.

History shows quite the opposite was true in the case of Bruce Langhorne. He has, arguably, made more diverse and profound connections than perhaps anyone of his contemporaries from his heyday in New York's Greenwich Village. John Sebastian may dispute that. And maybe Bob Dylan. Or Mark Dann. But Brother BruBru, as he was later known, has performed and recorded with some of the most talented and outstanding giants of his era. He would later arrange and produce albums for other legends. He wasn't invited into the studio or to play on stage just because he was a "nice Negro." It was because he was a stellar musician and steadfast friend to all he encountered.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Langhorne was a musical virtouso since he was a child growing up in Upper Manhattan. His violin career ended at age 12 after an incident with a cherry bomb that he held in his right hand an instant too long. His musical life thereafter was a matter of being at just the right place at just the right instant.

That place, of course, was Gerde's Folk City.

When he got older, he spent many days and nights playing along with other musicians in Washington Square. His musical career took shape when he was introduced to Brother John Sellers. Sellers had become the regular Emcee at Gerde's during its infancy. He was primarily playing spirituals, Roots Music and Gospel during his regular sets at Folk City. Bruce eventually would sit in with Brother John as his able accompanist. His name and unique picking style started to become better known from the exposure he gained as a young man at Gerde's. As part of his extensive repertiore, Brother John also liked to play some stripped down contemporary Folk covers and it was at that time when Bruce remembers a surge in demand for his presence on stage.

"People started asking me to join them on stage to play with them 'cause I could play almost anything. Brother John was always there. I was always there and we basically became the house band for Gerde's. I was just a kid. I had the time of my life."

Some of that time was spent holding up the bar at Gerde's. The other side of the bar was usually occupied by my Grandfather. In the early 60s, Folk City was the only place to go to see and hear the legends of the Blues and continually provided crowds with the new voices of Folk.

"Gerde's was where I met almost everybody. Bobby, Joanie, Dennis Fariña, Carolyn Hester. I spent a lot of time off stage with them, too."

~~~~~~~~~~~~~~~~~~~~~~

Soon, Bruce Langhorne was billed as the accompanist with fan favorites Tommy Makem and the Clancy Brothers. Within several months, he would join Texas Songbird Carolyn Hester in the studio for her 1961 release on Vanguard. A newbie guitar player from Minnesota had befriended Hester in Boston just around that time and expressed a desire to play with her. Since she already had Bruce lined up to play guitar on her next record, she asked the boy if he'd be interested in playing harmonica in New York when the time came. The man-child was Bobby Dylan and the bassist on the album was Bill Lee, father of Spike. Ms. Hester thinks this may have been one of the first intergrated Folk recording. It certainly was Dylan's first time on vinyl. Dylan and Bruce would collaborate some years later. But that's another story.

Bruce remembers the solid vibe at Folk City and attributes it to the Old World feel given to it by its owner, Mike Porco. Bruce still holds a soft spot in his heart for Mike.

"Mike was a wonderful guy," he gushed. "The rest of the world was dealing with Black and White but there was NONE of that in there. We would sit at the bar and we'd all just talk and it was like a meeting of the minds."

In fact, when Martin Luther King Jr. made his "I have a Dream" speech, it was Bruce, Len Chandler, Dylan, Baez amongst others who have been credited with warming up the crowd on the mall in Washington, DC.

In the mid 60s, Bruce was invited to play in the studio with old friend, and by now, superstar Bob Dylan. Some outtakes that he recorded with Dylan for the "Freewheelin'" album surfaced decades later but he was it was his lead guitar work on 1965's seminal Folk-Rock defining album Bringing it All Back Home that has stood the test of time. And, as has been spelled out in so many words by the man himself, Bruce IS Mr. Tambourine Man.

But a man can't build a career on inspiring other artist's song titles. He had become one of the most sought after and, subsequently, historically important musicians during the genre's transition from Folk to Folk-Rock. Not only an acclaimed "session" artist, his ability to perform live is what separated Bruce from the thousands of aspiring artists in the Village. From his exposure gained at Folk City, he earned opportunities to play with The Clancy Brothers, Tom Rush, Richard & Mimi Fariña, John Sebastian, Richie Havens, Gordon Lightfoot, Eric Andersen, Peter Yarrow, Fred Neil, Joan Baez, and Buffy Sainte-Marie. He also played on some other instruments during studio sessions and performed live with Bob Dylan, Judy Collins, the Fariñas, and others. He produced Ramblin' Jack Elliott's album Young Bringham and has also done soundtrack work, including scoring Peter Fonda's movie The Hired Hand. There is hardly a more star studded resumé.

One of his more outstanding memories was being asked...more like told...by John P Hammond to not sit in with everyone on stage and to just sit down and LISTEN. "And he was right! The show became more enjoyable to me."

He also remembers time spent with another fellow guitar virtuoso. Bruce was at Folk City in 1962 when Bronx kid José Feliciano became a hit sensation at the cabaret. As one would expect, the notoriously gregarious characters became fast friends. He remembers sitting around with José one day when they were both commenting on their respective handicaps. "And José says, 'You play pretty good for a guy with no fingers' and I said, 'You play pretty good for a guy who can't see shit!'"

Bruce was able to make a living playing music, something he thought was astounding. He even worked his way to a nationwide audience with a live appearance on NBC, but that didn't stop him from having a little fun with it.

"I'm told that there were some people in my building who liked hash," says Mr. Langhorne with a wry smile. A thumb-sized hash chunk somehow made it into his apartment where his mates indulged just before their network television performance. "And one of my friends said, 'hey we're going to be stoned on live TV in front of 6 million people!' I thought that was cool!"

The story, of course, is told a bit out of context and incomplete. Brother BruBru doesn't remember if it was Bobby or someone else he appeared with on Les Crane's show, but the story is funny nonetheless and shows Bruce's real ambition; it wasn't to make it "big" as fast as he could. He just wanted to play good music and have a good time doing so. His skill and zest for life seemed to line up his career opportunities for him.

~~~~~~~~~~~~~~~~~~~~~~~
I never had the urge to ask Bruce about Dylan. I really don't need to know "what HE was like" in the studio or at the bar. The stories can be near infinite! And 50 years later, by law, most have already been embellished over time anyway. If Bruce had outstanding anecdotes to tell, he would have told them. Most folks have all said the same about Dylan: he was funny and fun to be around. His demeanor and studio-style has been discussed and disected endlessly. I thought it would be insulting to ask Bruce about someone else when he's had such an interesting career.

It wasn't Brother BruBru's link to Bobby that led me to him. He spent much more time with Mike Porco. It's the time he spent with Dennis Fariña and the Grandison Singers and Brother John and Richie Havens that is of as much interest to me as anybody. He helped establish the very fabric of what my grandfather's cabaret became. He brightened the dark corners of that joint with the ambient sound that the headliners required. Five decades later, Bruce still keeps the Porco name aloft in his heart. To be welcomed into his home and experience that living connection with the man himself was worth more than any faded memory.

Mike Porco's Cousins and Brethren.

2011-08-21T00:33:00.003-04:00

After speaking with Vincent Porco of the Bronx, I learn of the "other" Porcos and offshoot families from the same town. My grandfather Mike Porco was a late bloomer. Many of his known relatives from Calabria had made their way from Italy to New York a generation prior.

My notepad was made from the back of an envelope.

Mike came here in 1933. Vincent's close relatives took a boat in the 1890s. Vinnie's grandfather is Anthony. He's never heard of Mike Porco although he's well aware that there's a paternal link not that far distant. His Porco heroes were the business men of the Bronx who stayed uptown and ran the speakeasies and night clubs up there. Places like the Flame, The Victoria Café on 141st and 7th, and the Palm. Not sure if it's the same Palm in the city now. But the one in the Bronx was run by the Bastones. Probable relative Joe Bastone put up the lion's share of money to open up Gerde's for his cousin Mike in 1952.

Mike's rotating cast of cousins and brothers ran Gerde's on 3rd and Mercer. Youngest brother Luigi was there at the beginning long before John came to America. They converted the fare from German to Italian. NYU forced them to relocate a block north to 4th and Mercer in '57. Music still wasn't introduced there until '59.

Vincent does remember Club 845 which was over on Prospect Ave. That was where Mike took his first real job working 90 hours for $11/week. By the time his kids were born, he was running the service from the entire 90 foot long bar. Fitzgerald, Armstrong and Ellington played there in the 1940's. Mike got to know them too but not as well as he did Dylan, Ochs and Van Ronk.

There were other families related somehow strewn all over the place. The Guara family. Bastone, Puglice (they just pronounced it POLICE) and the Reeda family. Mike's wife was a Reeda and Vincent knew another Vincent Reeda but we've never heard of him.

He also told me that his beloved Uncle Dom lives up by me in Tillson Lake. I got his number and since he spent more of his youth in West Harlem and followed the music, he'd have more to dish.

Vincent remembered the Yankee Tavern that Grandpa bought in 1965 but he never knew a Porco owned it. My Uncle Angelo ran the bar service there and was part owner. It was on 161 and River literally in the shadow of the Stadium. The Tavern, along with and half the block where the Chock-Full-o-Nuts once was, burned down to the ground in the winter after the Yankees '76 World Series loss. They would win the next two but Mike gave up the lease. His only business then was Folk City and some properties that he held with my Uncle John. Vinnie Porco says that every family has more than one John.

YOU'RE A BIG BOY NOW

2011-05-24T07:48:00.003-04:00

Anyone who knows about Bobby Zimmerman knows about Gerde's Folk City. It was where he got his first big break. It was where he hung out. It was where he made a name for himself. It was where he met Baez. It was where he hung out with Suze. It was where he played his new original stuff. It was where "Blowin" was first played. It was where many of his contemporaries first met and heard him play. It was where, as John Hammond recently told me, Bobby played his best solo shows. It was his turf. Gerde's, in a way, was the House that Dylan Built.

I've often wonder'd if Dylan and Gerde's would have been Dylan and Gerde's without Dylan and Gerde's. The answer is pretty obvious to me. Dylan would have become the poet laureate of his generation whether he was discover'd on a street corner on the Square or the Wha? or the Gaslight. Like the biological fact that all female babies are born with all their lifetime's worth of eggs within their ovaries, so to, Uncle Bobby had all his songs with him when he came to New York. They just had to manifest and present themselves in time. Bobby Z was born to become Bob Dylan.

And Gerde's....well....Dylan was one in a long string of Folk singers to launch out of there. Established troubadors and Blues giants were perfoming there way before Dylan crossed the Hudson. It's probable that he knew this fact before he left Hibbing. Since he showed up at Folk City his first possible Monday, it's likely that playing the open mike at Gerde's was part of his plan during the infancy of his New York experience.

In other words, Gerde's already had cemented its name into the foundation of American Music History pre-Bob. When Bob became too large an act to play announced gigs in the Village, Mike Porco and Folk City carried on. Future legends came to Greenwich Village to launch their careers and several more found a home at Porco's place.

The Italian eatery and bar cum New York's Center of Folk Music would have drawn crowds and a new breed of Singer/Songwriter even if Dylan made Boston his HQ. They would have come to New York and they would have coveted the paying gig anyway. They would have had the City, love, life, death, heartache and current events to draw topical inspiration from. They would have had the Blues, Bluegrass, traditional and Rock to build upon. And they would have had Bob's music and legend to aspire towards. Somehow someway and from somewhere.

But fate didn't have it that way. Bob came to Gerde's. And through the years, hundreds -perhaps thousands- came to Gerde's simply because Bob came to Gerde's. Mike Porco's "legend" was born 50 years ago because he offered his stage and guardianship to the birthday boy. His lasting effect on one little out of the way club is immeasurable.

The two were destined to be intertwined and only because of that is my opinion worth more than a red cent. Because of that, the Folk City Family had a legendary figure to associate themselves with. Because of the Gerde's connection, Bobby brought it all back home in 1975 to kick off the Rolling Thunder Revue. (Yankee Stadium can't claim that!) Because of that, even more people came to Gerde's to feel the lingering magic still in the air of the late '70s. And because of that, we celebrate the still unfolding life of Uncle Bobby.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

"Talkin' New York"

Rambling out of the wild west
Leaving the towns I love best
Thought I'd seen some ups and down
'Till I come into New York town
People going down to the ground
Building going up to the sky.

Wintertime in New York town
The wind blowing snow around
Walk around with nowhere to go
Somebody could freeze right to the bone
I froze right to the bone
New York Times said it was the coldest winter in seventeen years
I didn't feel so cold then.

I swung on to my old guitar
Grabbed hold of a subway car
And after a rocking, reeling, rolling ride
I landed up on the downtown side:
Greenwich Village.

I walked down there and ended up
In one of them coffee-houses on the block
Got on the stage to sing and play
Man there said, Come back some other day
You sound like a hillbilly
We want folksingers here.

Well, I got a harmonica job begun to play
Blowing my lungs out for a dollar a day
I blowed inside out and upside down
The man there said he loved my sound
He was raving about he loved my sound
Dollar a day's worth.

After weeks and weeks of hanging around
I finally got a job in New York town
In a bigger place, bigger money too
Even joined the Union and paid my dues.

Now, a very great man once said
That some people rob you with a fountain pen
It don't take too long to find out
Just what he was talking about
A lot of people don't have much food on their table
But they got a lot of forks and knives
And they gotta cut something.

So one morning when the sun was warm
I rambled out of New York town
Pulled my cap down over my eyes
And heated out for the western skies
So long New York
Howdy, East Orange

~~~~~~~~~~~~~~~~~~~~~

"Not Dark Yet"

Shadows are fallin' and I've been here all day
It's too hot to sleep and time is runnin' away
Feel like my soul has turned into steel
I've still got the scars that the sun didn't heal
There's not even room enough to be anywhere
It's not dark yet but it's gettin' there.

Well, my sense of humanity has gone down the drain
Behind every beautiful thing there's been some kind of pain
She wrote me a letter and she wrote it so kind
She put down in writin' what was in her mind
I just don't see why I should even care
It's not dark yet but it's gettin' there.

Well, I've been to London and I been to gay Paris
I've followed the river and I got to the sea
I've been down on the bottom of the world full of lies
I ain't lookin' for nothin' in anyone's eyes
Sometimes my burden is more than I can bear
It's not dark yet but it's gettin' there.

I was born here and I'll die here against my will
I know it looks like I'm movin' but I'm standin' still
Every nerve in my body is so naked and numb
I can't even remember what it was I came here to get away from
Don't even hear the murmur of a prayer
It's not dark yet but it's gettin' there.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

All Blues, all the time

2011-05-20T07:34:00.006-04:00

He's been called the white Robert Johnson.

He was known as Jeep by his friends in the Village.

But don't call him "Junior." He's his own man. A Blues man. A Hall of Famer. And it was plain to see why last night.

But at first, I had to shake my head and re-focus my eyes because I couldn't believe what I was witnessing. John P. Hammond, this soft spoken gentleman whom I was fortunate to share conversation and dinner with just an hour prior, was transformed into a man possessed on stage right before my eyes.

The man quietly thanked the crowd for coming and introduced his opening song. He began picking and blew into his harp and from the first howl, everyone in the room knew that this was no vocation for John. Somewhere during his life he had become one with the Blues and this was his way of expressing that obvious fact.

The way he sang and lamented, I really believed that he was all broken up inside. I really thought he was at the end of his rope. I really thought his heart was achin' and his baby didn't love him no more. I almost felt bad for the guy. He used the harmonica like a breathing apparatus. It was if he was taking oxygen from IT instead of him blowing his soul through it. It screamed and wailed as his head sunk low between his shoulders enabling him to better heave the sound from his insides through it. His eyes closed, his cheeks puffed and collapsed as his fingers and hands acted on instinct transporting the spirits long gone Bluesmen from an earlier time into that café. His words told stories told to him.

Between songs, the smile and peaceful, sometimes even shy conversation returned. The blues beast was well hidden from view for the moment but we all knew it would rear its head again even more gutteral and more serious than during the last tune.

I had to remind myself that this was the same guy who was sharing fun tales about his early days at Gerde's in 1962. He talked about the shindigs at the Broadway Central Hotel and at Victoria Spivey's apartment in Brooklyn. He loved playing Folk City.

"Folk City was THE club in the village. The Blues guys that came through all stayed at the Broadway Hotel for $4 a night and they all played Gerde's."

~~~~~~~~~~~~~~~~~~~~~~~~~~

BROOKLYN COWBOY

2011-05-14T22:33:00.005-04:00

Somebody had to teach Bobby and Arlo Woody's style.

There's a transitionary figure between the old guard and the new guard. There's a flatpicker who helped bridge the era of the troubador to the era of the singer/songwriter recording artist. There's a man who toured the road with both Woody and Bob. And tonight, the gleam from his shiny guitar that reflected across the packed house illuminated some and enlightened others.

There are few men alive who can claim the broad influence on American music as Ramblin' Jack Elliott. Touted by ol' pal Bob Dylan as the "King of the Folk Singers," his six decade-long career has spanned the generations connecting the past to the present in a rolling continuum that expands to this day.

No other man alive can claim to be the conduit by which some of the most prolific musical storytellers of our time made connections. Pete Seeger may argue that point, but Ol' Pete himself says he was influenced by Ramblin' Jack.

~~~~~~~~~~~~~~~~~~~~~~~~

Jack's life was never the same since seeing a rodeo at Madison Square Garden at age 9. Albeit, he wasn't "Jack" just yet. He was still Brooklyn raised Elliot Adnopoz at that point. By age 15, decided to run away with the rodeo and experience it on his own. A part-time string musician and full-time rodeo clown taught "Buck" guitar. After being persuaded to come back home 3 months later by his parents, Elliot finished high school and made a couple of false starts at college before the rodeo called him again. This time, the 18 year old "Pancho" would find work as a horse and stable man. He continued to work on his picking and singing and had expanded his repertoire of cowboy songs well enough to entertain crowds. After meeting the legendary troubadour Woody Guthrie in 1950, Jack Elliott left the rodeo to travel and learn at the feet of the master. After about a year living and barnstorming with Woody, he took a ship to Europe where he eventually toured and recorded albums with banjo picker Derroll Adams.

The spawning Folk and Blues revival lured Ramblin' Jack back to NYC in November of 1961. He was first booked at Gerdes in April of 1963. By then, he had become friends with every picker in the Village. They themselves, had known of Ramblin' Jack from his three albums and his, already, legendary past. Others, like Cisco Houston and Sonny Terry and Brownie McGhee, knew Jack from their days on the road. They were in New York making a living, too.

One of his new younger friends, of course, was the man-child Bob Dylan. He met Bob at the hospital where Woody was living out his final years. It was the desire to meet Woody that brought Dylan east but due to Woody's condition, they would never get the chance to play together. Bob did all of the pickin' during their visits as Woody was unable to show the eager Bob some of his guitar licks himslef.

But Ramblin' Jack could. And did. He tought them to Uncle Bobby and he tought them to Woody's own son, Arlo, as well. Jack even lived with the Guthrie family again for a spell after his return from England. By the time he sat and picked with Bob Dylan and Arlo, his time spent on the road with Woody, Cisco Houston and Pete Seeger was already a decade gone.

Jack would later become a great influence and/or friends with the likes of everyone from Joan Baez to Dolly Parton. From Phil Ochs to Flea. From Dave Van Ronk to Beck. The degrees of separation from Ramblin' Jack Elliott to the Folk-Blues-Country-Traditional musicians of the present moment is nothing short of astounding.

There may not be a more valuable performer alive today able to lay claim to having first hand memories of seeing how the folk process works. Fans of the genre can readily HEAR how songs from the past got reinterpreted for a new crowd, but Jack SAW it take place before his eyes as he practically oversaw the passing of the torch from the Folk legends of the past to the Folk legends of the future.

Today, fifty-five years since he first ran away to follow his calling, Ramblin' Jack Elliott still has the light of a million memories in his eyes.

ON THIS DATE 50 YEARS AGO...

2011-04-11T12:14:00.004-04:00

APRIL 11, 1961
A baby-faced, not yet 20 year old Bobby Dylan starts earning his keep in NYC 50 years ago today warming up the Gerde's Folk City crowd for the great John Lee Hooker. Dylan was one of thousands of performers to take the stage for Mike Porco at Folk City. Very few moments have stood the test of time. Mike Porco looked after Bobby like his own son. In fact, he was wearing hand-me-downs from Mike's real sons for this gig. He also gave him two bucks for a haircut. He never got the haircut.

50 YEARS AGO THIS WEEK

2011-04-07T09:15:00.002-04:00

Bobby Zimmerman takes Mike Porco with him to get a cabaret card for his first NYC gig. With his folks still in Minnesota, he asks Mike to sign as his legal guardian so he can open for John Lee Hooker at Gerdes Folk City.

The unbelievable booking line in '61.....
The Weavers
Victoria Spivey
Dave Van Ronk
Odetta
Judy Collins
John Lee Hooker
Hooker and Robert Dylan
McKenzie and Phillips

Then in May...
Peter Yarrow by himself
Danny Kalb
Marshall Brickman
Josh White Jr
Yarrow, Stookey and Travers
Carrie Smith
In sept...
Lonnie Johnson
Tom Pasle
Joan Baez graced the stage
Peter Stampfel
Gil Turner
Jean Redpath
Len Chandler
The year ended with Jean Ritchie.

All at one club in one year...I mean, are you serious?
Mike saw every show.

JUNEBUG vs. HURRICANE

2011-03-17T09:38:00.003-04:00

Jack and Sisters Roche

I was beyond pumped up for this past weekend to roll 'round. I had secured an interview and backstage access with Lucinda Williams while she toured through NYC. We made plans to meet on Thursday night to talk about her Folk City days and on Friday, I was going to the concert where she hooked me up with VIP passes, too. I had also gotten tickets to see Willie Nile perform up near where I live on Sunday the 13th. Originally, I had plans to take Willie Nile along with me to see Lu since I knew they've been buds for a long time, but it didn't work out that way. In the mix of all this, I decided to set up a guitar lesson with Terre Roche Friday afternoon, as well.

Jack Hardy had told me that the Roches were the best harmonic singers he had ever seen.

Terre and I worked on the basics. And timing.

Unbeknownst to me, the death of Jack Hardy was also part of the weekend plan. Not mine, of course. But it was in the cards, like it or not.

It's amazing to me how the highs and lows in life can be experienced at the same time.

I met Ms. Williams at the hotel bar where she was staying. She booked an interview with someone else before me and it sounded like I was bringing up the rear. I had visions of chatting with her and being invited to dine with her afterwards. If not, I'd just ask to join in anyway...but that's just me when I'm hungry.

Well, the conversation was as fun and easygoing as could be expected. People always say, "I don't know if I can add an awful lot" yet it's really their own opinion that I'd like to hear. A perspective gained from experience is worth hearing and she had more than I had expected. Mike Porco introduced her to Dylan at Gerde's for the first time and she called her time at Folk City a very important part of her career. "It was home to me for a good while".....that's all I needed to hear. And, of course, Jack's name came up before I knew of Jack's demise.

The vision I had held true. I joined in the fun with her gang downstairs in the restaurant as it was way too stormy to step foot outside.

The next day, I got wind that Jack had died. Piecing the puzzle together, I came to find out that very few people knew he was ill at all. Jack wanted it that way. It was just under a month. Enough time for Jack to line up his cherished goodbyes, I hope. Not enough time for the rest of us in this "tribe" to fully grasp. I'm very thankful that I was included in the phone chain that linked to inform and console, but very few seemed to have a good understanding of how or why so soon.

But the show must go on! I was to watch Lucinda in concert that night and do the VIP thing afterwards. But I was sincerely melloncholy about a curmudgeon I'd only met last year....the show must go on...

As Jack would say at his Songwriter's meetings every Monday, "Shut up and sing the song."

Jack loved Mike Porco. If anyone helped keep Folk City's doors open near the end of Mike's stewardship, it was Jack Studdebaker Hardy. He dedicated his 1976 album MIRROR OF MY MADNESS to him. He emceed the Folk City Hoots for years. Somewhere along those lines, I felt connected to it all through Jack.

At one point on Friday, I thought, "should I be the one to tell Lucinda Williams that a mutual friend has died??!" Although she and I had been in contact for a year, I just met her in person yesterday. She's high on life with this new album and she's busy gigging...I shouldn't bring bad news to the table.

I held my tongue later that night over dinner. (Backstage is a euphemism for a Hot Spot down the street) Lucinda was full of good energy from the warm crowd and the stellar show. As I expected, Jack's name came up again more than once as we talked informally about the old days.

Tell me about the bar scene back then, I asked.
"Well. There was an awful lot of Jack."
Jack Daniels??
"No. An awful lot of Jack Hardy!"
We shared a snicker and I left her smiling about Jack. I think that's best.

She also said that Frank Christian's name flashed in her mind during the show. Another friend who knows Jack.

Willie's performance was so uplifting. His timing couldn't be any better. Really. In every sense. He plays with such zest and his voice and lyrics are powerful. It was a nice finish to a wild weekend. After the show, I finally got a chance to speak with him face-to-face. He was kind enough to do a phone interview with me last year and we, too, had been in touch since then. I only had a moment to say hi and thanks at the reunion itself, so standing with him in conversation felt like seeing an old friend.

"You heard about Jack?" he asked.
Yeah. I'm sorry, I said.
"Me too."

~~~~~~~~~~~~~~~~~~~~~~~

To date, I've heard more about Jack's final days. He was as brave and witty as he had come to be known right up until his final hours. In an attempt at dark humor, I told Mr. Massengill that Jack should have died years ago...he would have sold more albums.

David said, Thats what Jack said in the hospital.

WILLIE NILE

2011-03-13T17:48:00.002-04:00

Willie knows Jack

"Leaving New York City, on a full tank of gas"

JACK HARDY

2011-03-12T02:07:00.005-05:00

I met Lucinda again
We talked all about a man
Who wrote when he spoke
And wore a cape on the fly

But it doesn't matter as much now
Since the wind had stopped
And the lights of your eyes
No longer anticipate

Morning with dust clouds
Eager to sing
In sun
With the dew and the chirp
Of a million voices

Crying out loud
Since the plates have shifted
The Earth is a cracked egg
Oozing its contents

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I was very fortunate to be able to communicate directly with lot of people from Gerdes' past without much hassle.
On 1.27.10, I interviewed Richie Havens and Carolyn Hester over the phone. (still shocking to me!)
The next day, I met another Mr. H and it was my first sit down interview. Allow me to share my summary in an email to myself:

Jack is a warm guy living in a drafty apartment. Holding steadfast to the artist's lifestyle, he remains in the rent controlled walk up he first leased in 1975 for $125/ month. His rent has changed but the amenities have not. In it, he carries on a monday nite tradition seemingly in his blood; the singer/songwriter get together. A rotating cast of characters swing through the open house every Monday evening prepared to share new material status post a mandatory gorging of pasta and wine.

Only new material is allowed. Any songs over a week old is considered stale and unwelcome.

It's the musical communal spirit that resides in jack and is alive and well .....

....the spirit of free and open musical expression survives in the village, if only for one nite a week.

Lessons learned at Jack Hardy's were not bestowed solely upon fortunate locals seeking peers' advice on how to become better songwriters. The apartment on Houston and Bedford and sixth was the playhouse for the likes of vega, lovett and colvin.....

"The oportunity to play the open mic at Gerdes on a hoot night had a huge affect on me" jack recalls. "it gave us all a great sense of community knowing that all of us had a place to go to not only hear other performers play new material but mainly for us to go and play our own new stuff. "

It was that level of comfort that the players took to the stage with them knowing that if it didn't come out just right there was support and encouragement from everyone else who was preparing to expose new material of their own.

Jack first came to ny and slept on the roche sisters floor. He traveled around and didn't pay rent for a couple of years moving on gig to gig from Chicago to ny and points between. Eventually it was the draw of the village with it's many potential job oportunities that convinced hardy to hang his hat at a place of his own. He hasn't left.

Mike was one of my favorite people, he

I met jack hardy a couple of days before his 35th aniversary of moving in. He fixed a pot of coffee without hardly looking as if the....like his arms were doing the work on their own.

He still has the oak-topped dining table built by him and mike from scrap wood scrounged from the neighborhood well over 30 years ago. Looking underneath at the craftmanship one could tell it was built to last.

A lime green vinyl chair from the 130 w3rd gerdes' location remains as jacks desk seat while he brouses the Internet.

He had modernized to the times somewhat. He keeps his cell phone on and close by. His apple computer is logged on. And he uses his own web page to sell his own CDs.

But he still functions very much the way he has side he's moved to new York. The noted exception is the distance he must travel to earn his living. "I used to be able to earn a living within 4 blocks of this place. Now I'm going into remote outposts playing to 100 people total after 6 sets. " he says with a laugh. "I'm thinking sometimes 'why am I doing this again?' flying to minnesota in the winter; driving endless miles....

Jack is not only a throwback but a true rarity in the music business. Even more so considering he's been an established artist for over three decades. He has never had a manager or a record producer. He owns all the rights to his published work and owns all his master recordings. He truly is a one man show.

And, whether because of this soloist mentality or in spite of it, his music maintains its timeless quality unfettered by the (commercial) themes encouraged in the corporate world of pop music today.

Still fresh. Still politically charged. Poetic and thought provoking.

The Folk music (revival) ...the folk music from the 1960s was virtually by definition politically charged with artists having carte blanche to say and do what was on their mind. It would be impossible for the songs built in the 60s to not become the expressive tool and the common thread that would come to bind the messengers with the masses.

More....

Jack: I don't think the powers that be in the music industry want something like that to ever happen again. The music that was coming out from EVERYBODY was so very anti establishment. And the ones who made it big became spokespeople for a movement that defined the 60s. We

He jokes that he has recorded 16 albums yet remains virtually unknown. "16 albums no ones ever heard of."

"Mike always looked out for the people behind the music. He used to say that all that fame and fortune wasn't as important as your health and the people in your life. That always stuck with me and made an impression on me. I've tried to write that philosophy into different songs over the years."

"Mike would mostly be sitting at the bar holding court overseeing the crowd and goings on of the place. You might think that he wasn't listening at all to the music but them he'd surprise you and ask a question about a song someone played or a lyric he heard. He was very conscious of what was going on."

"He worked that bar from open to close and tried to squeeze every penny out of that place. Most nights he wouldn't walk out until 4 in the morning, unless of course it was the daylight savings time which would make it 5am."

On hoot nights, there would sometimes be such a large line of players waiting their turn to play that the closing acts wouldn't step foot on stage until 2 or 3 in the morning. The crowd at that point was more than subdued enough to let the artists weave their spell any way they saw fit. The graveyard shift as jack called it.

Mike would keep that place open until the last patron had seen or drank enough whichever came first.

But he was generous to the employees who worked til the last drop offering on countless occasions to drive over to Chinatown where he would pick up the tab for a sit down feast only a Chinese restaurant could serve up.

The universe will have its way
Too powerful to master~

ALSO KNOWN AS LUCINDA

2011-03-10T23:15:00.002-05:00

Some sweet wise women have crossed the threshold from Gerde's past into the present moment.

Lucinda Williams lives in the present moment. Understands it. Swims in it. Shares it.

Vitality once felt under Mike Porco's roof still resides within her. It was a short period of her career, but Folk City was HOME to her, too.

Mike was listening. And he heard what I hear.

Happy Birthday Doc Watson

2011-03-03T09:05:00.006-05:00

Jean Ritchie and Doc at Gerde's 1963
The Cover of Doc Watson at Gerde's Folk City

SUZE

2011-02-27T16:08:00.007-05:00

I have found one thing to be constant on my path following Mike Porco and the lives he touched along the way: love.

They loved him. And he loved them back.

But it's not just that. The most amazing thing to me is that it's still flowing to this day. To my great fortune, and perhaps only because of my bloodline, much of it has been transfered to me. There's a sincere and palpable reverence between all the kindered spirits within this community. Everyone has welcomed me in no questions asked. I like to say that I've been "grandfathered in." Everyone I've contacted with and connected with have made me feel right at home. They've shared their memories and feelings with me as if they've known me for years. And to think that I've only introduced myself to Grandpa's ol' friends a short 16 months ago...I feel like I've been here in some way all along.

The very first person I contacted one late November evening was Suze Rotolo. I told her I was writing a book on Gerde's and Mike and from right there and then, she became my biggest supporter and cheerleader. She seemed to have that effect on people. She followed my movements as I promoted the anniversary party from afar and offered encouragement through timely emails I could have never expected.

We met for lunch last February and got carried away in conversation so quickly that my note pad, which typically became full of illegible words, was mostly empty. We talked about lots more than Gerdes and had quite a laugh together. She told me to keep contacting people because I had a "magic name." She helped connecting me with Terri Thal, Sylvia Tyson, Alix Dobson, John Cohen and everyone's Godfather, Isreal Young. I assumed that I'd see her again for a follow up of our own one of these days...

On the task of book writing (something she only needed to do once with A FREEWHEELIN' TIME), she merely shared her thoughts from her own experience in writing her memoirs. It's that advice that I still hear in my head: don't look at the mountain just keep taking steps...find one ear to hear what you're trying to say. To her, that ear was her son, Luca. She wanted him to know her completely. She just happened to let the world find out about her in the process, too. The other thing she told me after the Reunion was, keep your vision and TRUST ADVICE FROM ARTISTS AT ALL TIMES!

I've had many heartfelt conversations thus far and I've been pleasantly surprised to find men openly bidding me adieu with a sincere "love ya" or just plain ol' "I love you, man." Why? I can only guess that they mean it. I've seen Vince Martin tell David Amram the same. I've heard it from Buzzy Linhart. Why?

Perhaps because, as Sally Spring told me, we're all in this together. The connections are real. The sentiment is honest and unforced. And that's why Suze's loss is a great loss to this whole family, no matter how long you've been a part of it. (And, men, just admit it. You can see why she was born to be Suze)

And now I have regrets that I didn't get to tell as much to Suze. Personally, I'm not a big fan when people use their Facebook page, or their blog for that matter, to "speak" to Jimi or George Harrison on their birthdays...just not my style.

But I will say here, to the memory of Suze Rotolo, Thank you, Sweetie. I love you. I'll miss you. Ciao Bella

BIG JOE WILLIAMS AT FOLK CITY

2011-02-26T12:08:00.004-05:00

Big Joe Williams was first booked at Gerde's in the fall of 1961. Ever the crowd pleaser, he entertained in the intimate setting with his rousing style fashioned after 40 years on the road. Born in 1903, he was playing traveling minstrel "tent shows" around Mississippi by 1918. He converted his beat up Supertone into a 9 string and played in open G tuning giving him a one-of-a-kind sound. As if all that wasn't unique enough, he added a kazoo for good measure. A most ecstatic Bobby Dylan befriended Joe and sat in with him for almost the entire two weeks. By the end, they were billed as Big Bill and Little Joe.

Early in 1962, Mike Porco was considering booking him again. By then, Folk City regular Dylan had more than an influential hand in getting Big Joe some work. "He's the greatest old bluesman. You gotta put him in here," he told Mike.

A three week booking began on 2.20.62 with Zimmy showing up throughout to either jam, listen or, once again, perform onstage during some of Joe's sets. The album BIG JOE WILLIAMS AT FOLK CITY was recorded on 2.26.62.

Ian and Sylvia Tyson

2011-02-25T13:02:00.006-05:00

February 25, 1963

Ian and Sylvia begin a week's engagement at New York's Center of Folk Music, Gerde's Folk City.

Ian & Sylvia started performing together in Toronto in 1959. By 1962, they were living in New York City where they caught the attention of manager Albert Grossman, who managed Peter, Paul and Mary and would soon become Bob Dylan's manager. Grossman secured them a contract with Vanguard Records and they released their first album late in the year.

Ian & Sylvia's first and self-titled album on Vanguard Records consisted mainly of traditional songs.There were British and Canadian folk songs, spiritual music, and a few blues songs thrown into the mix. The album was moderately successful and they made the list of performers for the 1963 Newport Folk Festival.

Four Strong Winds, their second album, was similar to the first, with the exception of the inclusion of the early Dylan composition, "Tomorrow is a Long Time", and the title song "Four Strong Winds", which was written by Ian. "Four Strong Winds" was a major hit in Canada and ensured their stardom.

Ian and Sylvia married in June 1964. They also released their third album, Northern Journey, that year. The album included a blues song written by Sylvia, "You Were On My Mind", which was subsequently recorded by both the California group We Five (a 1965 #1 on the Cashbox chart, #3 on the Billboard Hot 100) and British folk-rock singer Crispian St. Peters (#36 in 1967). A recording of "Four Strong Winds" by Bobby Bare made it to #3 on the country charts around that time.

On the Northern Journey album was the song "Someday Soon", a composition by Ian that would rival "Four Strong Winds" in its popularity. Both songs would eventually be covered by dozens of artists.

In June of 2010, Sylvia Tyson would return to New York to perform "You were on my mind" as one of the supreme highlights of the 50th Anniversary party.

Yet another first at Gerdes'

2011-02-06T19:48:00.007-05:00

Fifty years ago today: according to Clinton Heylin's book Stolen Moments, February 6th 1961 was the Monday where Bobby Dylan played the Hoot for the first time. Back then, everyone was a complete unknown and had to draw a number from the hat to determine the order of appearance on the famed stage. At some point later on, Folk City employed using a numbered deck of playing cards face down to figure out pecking order. The peformance rule for Hoots....rarely followed to the letter...was 3 songs or 15 minute time limit, whichever came first. With chatty musicians and the potential for relentless story telling through song, it's no wonder the Hoots started early and needed a savvy emcee to herd the cats on and off.

Bobby would end up doing consecutive open mics at Gerdes well into March. By then, he had befriended one Dave Van Ronk and wife and talent promoter Terri Thal who had Mike Porco's ear enough to encourage him to sign the kid up to be billed at least for an opening act. That would come later on April 11th. In the meantime, this Dylan kid's name had been circulating around the square. The applause meter in Mike's head probably told him that he just may have the goods. And if you had the goods, odds were, you drank at Folk City for free after a time. I've been told that well-liked musicians' money was no good at the bar. I'm sure that sat well with Zimmy.

Dylan would later be discover'd here at Gerdes' and it became the ideal place for him to showcase his new material and even rehearse. And did I mention drink for free???

1.30.61: Dylan shows up at Gerdes to play Hoot- Turned Away

2011-01-30T00:25:00.004-05:00

Fifty years ago today, 19 year old Robert Zimmerman strode over to Gerdes' Folk City on 4th and Mercer to partake in the famous and ever-exciting Monday Night Hootennany. Since mid-1960, Gerdes' was the home of Greenwich Village's first open mic. It was a place where "dreamers came to dream," as David Massengill put it; A place known as "headquarters" by Carolyn Hester; A place called "the Mecca" by Richie Havens; A place that a grown up Bob Dylan would call in his autobiography Chronicles "the preeminent Folk Club in America."

But not this night. Young Bobby just looked to damn young to be allowed on stage.

"Get out of here you punk kid," Mike didn't say to him.

No. It was probably more like this: "How 'bout you come-a back next week with-a something that proves-a how old you are."

Which he did. And then he played the Hoot again the next Monday. And then several Mondays after that until soon enough, the likes of Dave Van Ronk, his wife Terri Thal, Folk City booking agent Charlie Rothschild and a host of others "sternly suggested" that Mike book the Kid. Which he did....

Bob Dylan plays at the Folklore Center for the first time 1.29.61

2011-01-29T14:25:00.004-05:00

Isreal G. Young- Godfather of Folk

here's a bit on his link to Gerdes'

It's been said with much acuracy and historical fact that without Izzy Young, there would be no Folk City. After all, it was his idea to formally hire acts and headline them at Gerdes' Restaurant at 11 west 4th. He and business partner Tom Prendergas approached Grandpa in December of 1959 to encourage him to use his place as a venue to book the up-and-coming acts that were performing elsewhere in the neighborhood. It was a match made in Heaven for the Folk crowd and Porco, but not so for Porco and Young.

Isreal Young was the eccentric owner of The Folklore Center located at 110 Macdougal Street. It was known by all the musicians and tourists alike as the place one could go into and buy everything related to Folk Music. He sold everything he thought musicians and music enthusiasts would want. His patrons were the musicians themselves along with everyone else who paraded around the streets of Greenwich Village. His store became a destination for tourists and Musicians since there was enough space to sit and play their music without having to purchase very much. Izzy never treated anyone like a freeloader. He loved the music and he loved the people who played it. They, in turn, loved Izzy. In fact, he became a sort of promoter to some in a happenstance definition of the word. His crowning acheivement was producing Bobby Dylan's Carnegie Hall concert in 1961. Fifty three (or was it 56?) tickets were sold and Dylan was paid duly from Isreal Young's pocket.

~~~~~~~~~~~~~~~~~~~
The village back then had a scant many bars that had a New York State liquors license. Places like Cafe Wha?, the Gaslight and several others relied upon the blend of Beatniks and the growing folk crowd to keep the register open with sales of french fries and coffee while the stages showcased alternating acts of poets and singers. The musicians who needed a place to play would carry their guitar and playlist club to club, night after night. The patrons tended to do the same in search of a newer scene, prettier faces or just better music.

Some joints were known as "baskethouses" since everyone performed for free and passed their own hat, as it were, to collect pay for their performance. Usually this required a trusted friend to act as part accountant and part salesperson. Pretty girls encouraged bigger tips, so said new comer and former portrait artist Richie Havens.

Baskethouses got the reputation for being the places where beggars who played guitar melded their trades. Many players paid their rent just this way and an exceptional few, like Havens, made quite a living playing as many as a dozen different houses a night. However, it just wasn't the way for big dreamers to get their careers off the ground. They were to be more successful at promoting their musical message at the more "upscale" coffeehouse circuit.

Problem was, there wasn't any real upscale circuit to speak of. The Wha?, The Gaslight, The Bitter End, The Kettle of Fish to name a few, were the more sought after rooms to play since they were almost fully transformed into Music-only venues. The Beat poets were losing ground to the steady stream of singer/songwriters/street performers making their way in to the clubs from out in the Park. Unfortunately for Young, the Folklore Center was ill-suited to showcase acts and house an audience at the same time.

But Gerdes' restaurant seemed ripe for such an adventure. Mike Porco had already been hiring various solo acts to play there on a regular basis to provide background sound for the blue collar eatery. Accordian and guitar players would skulk around during dinner hours. At the time, Porco had a loyal customer base of factory workers and students who would eat there during the day while during the Happy Hours, Gerdes' would be open serving up beer and liquor and exceptional Italian food to the locals. Even so, closing time would still take place around 8PM.

Izzy and Tom saw an opportunity staring them in their faces. Young already knew all the musicians and they could utilize Gerdes' liquor license to service and entertain a steady and thirsty crowd with select acts charging for admission at the door. Their plan was to hire the acts, promote the gig, and pay the musicians while offering Mike all the profit on food and drink sales. It would come to be known as The Fifth Peg at Gerdes'.

The math from the start was fuzzy. Gerdes held under a hundred patrons and were being charged $1.50 for entry. The headliners got $20 and the cost for up front promotion wasn't cheap. They quite literally needed to sell out every night to make their money back. As Izzy later put it, it was a win/lose situation: Izzy and Tom couldn't win and Mike couldn't lose.

(more on the transformation from the Fifth Peg turning into Folk City later...)

It was fifty years ago today.....

2011-01-24T17:26:00.005-05:00

When the man named Zimmerman crossed the George Washington Bridge and rolled his way down to Green-witch Village to warm his bones and show his wares. The story has been told a thousand ways, so I won't chatter on too much. After spending early January playing coffeehouses in Chicago, he ventured to the University of Wisconsin and spent time with future Village pioneers Danny Kalb, Eric Weissberg and Marshall Brickman. Then he grabbed a ride to NYC in a 57 Impala with Dave Berger. First stop: The Wha? where he took the stage for a couple of songs with Fred Underhill. Owner Manny Roth asked the audience for a volunteer to put Little Zimmy up for the night.

The Cafe Wha? will be staging celebration of the occasion this Saturday January 29 to help celebrate the anniversary of his arrival. HIGHWAY 61 REVISITED, the official Dylan tribute band, will perform to an excited bunch.

Be there or be rectangular!

http://www.cafewha.com/index.php?mact=News,cntnt01,print,0&cntnt01articleid=1&cntnt01showtemplate=false&cntnt01returnid=85

Zimmy was bent on playing at the feet of his idol Woody Guthrie (which he did) but first he had to get his feet wet and perform around the Village (which he did).

There were a lot of baskethouses to hone his skill in.....And there was a little Italian restaurant on 4th and Mercer that was a paying room. It had been booking all the up-and-comers as well as some blues greats still making their way on the road. It also held an open mic on Mondays. Bobby wasn't the first nor the last fingerpicker to make a point to hoof over to Gerdes and take a number from the hat.

Dylan's first Hootenanny would have to wait a few days, but he seemed to like them considering he frequented and played them for months after. Folk City later would be known as "Dylan's turf." The legend of how Bobby became Dylan lured singer/songwriters from around the country to try their hand at it, too.

Ain't it grand?

Phil Ochs: There But For Fortune

2011-01-08T00:56:00.002-05:00

What a splendid piece.
The movie. And Phil.

The buzz for the movie's arrival started some weeks back. Phil's sister Sonny had mentioned it to me in the spring but it had completely slipped my mind until recently when it started to get mention on Facebook. The first thoughts that came to mind when I saw the ads and promos were the words of my grandfather himself saying "I wish-a Phil Ochs lived a hundred years." He said this in 1979 during an interview with Dan Behrman. Dan was generous enough to make me a copy and it remains the only lengthy recording I have of Grandpa's voice.

The interview was taped in the basement office at 130 W. 3rd and aired on Dan's show on WBAI and in it, one can hear exactly what Mike Porco was like. His speech was even paced and comforting. He had a firm mastery of English even if he might twist a pronunciation or two around. He had a kind laugh and was soft spoken. In fact, the recording caught Mike answering the phone a couple of times to give directions and to take a message for an employee who had not yet arrived at the club. He wasn't pressing for time nor did he seem pressed himself. He was taking his time before work. The night was likely to be long.

Dan was talking about some of the musicians that had played on Gerdes' stage and Phil Ochs was mentioned. Phil Ochs graduated from passing the hat at baskethouses to working paying rooms in Greenwich Vilage. "Phil was a very shy type, when I met him," Mike said. "I think he was-a one of the best songwriters around. Where ever he would play, he used to mention 'Folk City' and my name and say 'that was the first paying job I had.'"

It's been said that Mike treated most of the Fellas like his own son, but everybody knew that Phil was "his boy". Sonny told me that. Jack Hardy told me that. Rod MacDonald told me that. And I'm sure to hear it again.

In an unguarded moment, Mike's voice softened even further as he seemed to lose his place. "Ive been thinking the world of him and I really miss him today. I wish he lived to 150. I love him."

~~~~~~~~~~~~~~~~~~~~~~~
I felt a strong pull to see the Phil Ochs bio as soon as I could. It was so fitting that the first theater it was shown was in what was once the Waverly on 6th Ave at the west end of 3rd St; a stone's throw from the old Folk City. It opened Wednesday 1.5.11 and I went yesterday.

It was a gripping tale of a man every generation should know about. As it was put in the movie, "he had a voice, six strings and conviction." Phil was able to create a career for himself out of nothing if not a passion to express himself through music. While Dylan and many others were writing from personal experience, he was interpreting world events into a language that could be understood on the gritty streets of New York. Like a conduit between the New York Times and the masses, he found a way to mobilize people against the unholy and unjust acts committed at home and abroad. He brought unspoken and heady issues to the forefront like the CIA overthrow of the democratically elected leader of Chille, Allende. He helped form the Young Independent Party (Yippies) with Abbie Hoffman. He tirelessly battled the ridiculousness of Vietnam. And he did it through music. With beautiful melodies and a sweet voice.

No one I've spoken to so far speak ill of Phil Ochs. And when his name has come up, the tone of the conversation changes. His contemporaries and peers loved and miss him. And I'm proud to know that Grandpa cared for him when others shunned him.

~~~~~~~~~~~~~~~~

The movie is a lesson in creativity and rising up in a crazy and crazed world.

About the film:
www.philochsthemovie.com

Showtimes:
http://firstrunfeatures.com/philochs_playdates.html

New Year's all a-Buzz

2011-01-01T16:40:00.006-05:00

I rang in the New Year with a long conversation with The One, The Only...Buzzy Linhart

Oddly enough, I was thinking of him recently and was taken aback by a phone call from him. I couldn't think of a better way to bring in new years (and my first year's journey into Gerdes' past) than with a guy who was known for doing the Folk City new years show. As fate would have it, my plans to be out of the house changed in the early evening and I was able to return the call and spend a new years with him.....a bit differently from how Mike spent some with him but a Porco/Linhart connection none the less. Lot of love still pouring out of the Folk City legend to this day. It's an honor to be in contact and "In tune" with so many of the people who shared intimate moments with my Grandfather.

Buzzy and I had spoken about a month before the Anniversary party. It was clear to me over the phone that he held Mike in high regard and was happy to have heard from me.

(to be continued)

Dylan

2010-12-07T00:34:00.006-05:00

So I went to a couple of Dylan shows last month. The first being in my neck of the woods at the Mid Hudson Civic Center in Poughkeepsie on November 16th. Being that is was local, I bought 4 tix assuming it would be easy to find 3 others to attend with me. It was a no brainer to ask Edwin, an old family friend. Affectionately and more often called Bud, he knows more about Dylan than anyone I've ever met. Bud was eager to help me archive the footage from June 7 Porcofest and in the process, share several of the hundreds of bootlegs and rare discs capturing Dylan not only in his prime, but also as a budding artist. Amongst the gifts, he gave me a copy of the "Banjo Tape" allegedly recorded in Gerdes basement in the early sixties and another tape known as The Glover Tape recorded on a whim in 1962 on one of his first visits back to Minnesota after he had established himself in The Village.

It shouldn't be a surprise that Bud's youngest son is named Dylan.

Anyway, Bud brought John to the show and could have easily found another taker. But I wanted to offer my own ticket to someone. Well those someones didn't want to venture out late on a tuesday so, in a flash, I contacted the Anniversary Party's opening act Roland Mousaa. Roland knew Uncle Bobby way back when and has been credited with saving Dylan from being stabbed by Phil Ochs in a drunken haze.....but that's another tale....

"Yes! And I'll make a couple of calls to get us back stage," Roland wrote me in an email. "Bob will be pleased."

Well I hadn't thought he could pull it off but what the hell. I wasn't going to stop him. I had been making attempts myself by contacting Jeff Rosen's office personally asking for a moment of Dylan's time just to get the lowdown from the man himself about his relationship with Mike Porco. He's the only man alive that can tell me. But I didn't want to pester his office too often and upset the balance. I didn't want to cross the line and be seen as a stalker. I figured that since my name had become subject matter on inter-office emails I was nearly there. At least it didn't say Re: bob Porco, delusional fan....

Later found out what kind of following he had as evidenced by the legion of fans who join in on the never ending tour for a leg or two.

But now, Roland was on the case and doing his damndest to try and get us all connected. "I think Bob would want to meet you," he said. "He loved your Uncle John and your Grandfather." Roland had spoken to Bobby's California office more than Jeff Rosen's NYC office. I started the week thinking I had a .01% chance of meeting Dylan but with Roland hustling, I thought wishfully that it just might be 50/50 by Tuesday night.

Alas, no success was had in getting word to and from Dylan by the managerial route. So, while still in the audience and within a few rows of the band, I decided I would get closer to the stage for the encore and try to get within earshot of him while we were still in the same room.

Well after closing with Like a Rolling Stone, Bob assembles his band for a final bow and I take the opportunity to toss a folded copy of the Anniversary Reunion poster on stage with a cheeky note on back. (BBQ at my house!) That's my brush with fame....a folded piece of paper thrown on stage after the show. Whoop!

Roland and his wife Princess Wow aka Brenda were not wowed by Dylan's new loud sound. I, however, was in awe at how he still can hold the crowd in his hand without saying much. He played a lot of lead guitar that night and did a rendition of Ballad of a Thin Man that I can only describe as milk curdling. And to note, 20 year old girls are still inching closer to the stage to get a good glimpse of the man. Fact.

Well, after the harsh realization that no one gets in to see the wizard not no way not no how, I went with Bud and John to the lobby of the ajacent hotel for a nightcap. That's where I met Ross.

Ross was already there and must have heard us rehashing the versions of the night. He tells us that this show was his 27th of the year and he was driving to Binghamton for the next night's show, as well.

"Well, I'm going next Tuesday also," I tell him.
"I'll be in the City for all three shows. Let's connect," said Ross.
"Sure."

So of course, my plans on the 23rd were expanded to meet up with this wine exec from San Fran via Chicago and his band of gypsies who "would want to meet you, too."

This time I went with Vincent T Vok who purchased the round of beers that led to the idea of the reunion party in the first place. His eldest son also answers to the name Dylan. Go figure. "Good things always happen when we meet out," he says.

The Readers Digest version is: we met near Times Square. Walked to 56 and 11 and got my bag checked before going in. Had a personal favorite poland spring water tossed in the trash. Got frisked and had the rest of my kind stash also thrown in the dustbin to join my water. Caught up with Vok. Bob gave many a religious experience during Thunder on the Water. Met up with Ross, Darlene, Patrick, Charles, Sean and an Irish dandy of a man dressed impeccibly in a suit and tie working in his 75th show of the year with 2 more to go named Noel. We ate and drank and had a blast. I felt woozy in the morning and had forgiven the theft of goods at Terminal 5.

But I spoke to Lee Ronaldo of Sonic Youth in the hall leading to the bathroom as Working man Blues #2 played live. "Hey man. I'm sorry to stop you but I have to tell ya, you, Dylan and I have something in common."
"Oh yeah," with a puzzeld look
Yeah man. folk City! My grandfather owned it before Robbie."
Oh that's COOl!
Then I got the chance to tell him whatfucking Sonic Youth means to me. Then we talked about Izzy Young. Strange but true.

The awareness
The understanding

Realized I've not made a lot of new contacts at the pace of a year ago, but I've still been active within this new Community. I've gained access to this close knit group, have been welcomed in with no questions asked and have been able to gain my own perspective from the inside. Among some things I've learned is that that's how they ALL got here. Dylan, Porco, Bromberg, Traum, Havens, Hardy, Ungar...everyone. That's how it works. The music binds to a group of mankind and it's up to the group to expand and bring in others so future generations can perpetuate and self serve the living group.

Like rock and roll..... only the small town feel.

Like Mike Merenda said to me, "Its a small family but it's strong!"

Happy Birthday, Grandpa!

2010-10-23T20:03:00.007-04:00

On the anniversary of Mike Porco's birth, I thought I'd re-post a tale of the early days of his adulthood and his first experience in America.

Michele Porco
23 October 1914 - 11 March 1992

((((((((((((((((((())))))))))))))))))))))))

Michele had worked in the rural province of Calabria since the age of eight when his father apprenticed him to a carpenter. It was hardly uncommon for pre-teens of the Old World to have their vocation decided for them by their parents and Michele proved to be a fast learner and a patient woodworker. Young Michele (pronounced Mick-EL-eh) continued with school but it was clear to Angelo Porco that his son's abilities were best displayed by his handy work. His early calling was in the fine skill of cabinet making and he was proficient enough in that trade that by age 16, he had opened his own shop making cabinets and doing woodworking jobs for the townsfolk.

Just two months beyond his 18th birthday, Michele received a long awaited post from New York where his father had gone months before. In it, Angelo summoned his eldest Son to leave his mother and three siblings behind to be with his father and fashion a new life in America. Michele, like millions of European immigrants before him, had dreams of inventing himself in the Land of Opportunity. The only promise he had was from his father saying in the letter that he would meet him at the pier when his ship came in to new York.

Finally, the day planned by his father was upon Michele. In January of 1933 he packed a trunk bound for glory and rode a train 450 miles up the Mediterranean shoreline to Genoa.

The work-strong Michele dreamt of making his way in America the way many of his cousins did before him. He and his father had known of several families that had already settled in New York City from their homeland in Calabria. Michele's father had shuttled back and forth during the last decade to work with extended family members and Angelo had plans to enhance the Porco family's prospects by adding a hardworking wage earner. Armed with little more than half a lifetime's experience in a trade and a wealth of ambition, he readied himself for the adventure of his life. He would later Americanize his name, simply, to Mike.

The Conte di Sevoia arrived in New York harbor in the early hours of the 2nd day of February. The forecast called for a sunny day according to the New York Times. Now with his official papers in hand, Michele was eager to reunite with his father; an event he envisioned happening over the course of transversing the 4600 mile trip to the America.

The melee of welcomers and new arrivals was just another everyday occurrence for the Immigration workers on the pier. For Michele, it was a maddening chore trying to find his father's face in the crowd. Finally, a familiar voice cried out his name from a distance. Again the voice called for 'Michele'. Michele stopped in his tracks unsure of why it wasn't his father's voice. It was a passing thought. He soon recognized the voice of his uncle getting louder as he neared his space. A joyous hug and a tear of a bittersweet welcome accompanied with an awkward silence unexpected by Young Porco.

Tio Luigi had dreaded this heart-wrenching moment. He had to find a way to welcome his kin to the New World and, in the very next breath, tell the boy that his father had died shortly after sending his last letter home to Italy.

The definition of Mike's new beginnings in America had now been instantly altered into a challenge to not only start from scratch but to make his way virtually on his own.

He would have little time to mourn as his fate awaited him in the morning of tomorrow. His fighting spirit surely took a devastating blow from behind on the pier that day but perhaps it was from this absolute emotional bottom that Mike Porco cultivated a level of quiet determination that he would harness and use for the rest of his life in New York. Here at the lowest point of his young life, little could he expect that he would one day play a crucial role in facilitating the revival of a musical movement that would define American society for decades to come.

Mike would eventually offer a stage and a week's pay to every singer-songwriter who was able to muster up "a following." They came from all over the country in hopes of becoming a star in Greenwich Village. But first Mike had to pick himself up and follow his own star.

Links for more pix and perspective

2010-09-28T14:35:00.003-04:00

Frank Beacham's coverage: HERE

Getty Images link for Anniversary pix: HERE

YouTube videos from reunion: HERE

Brian Rose blog coverage: HERE

Faster Times coverage: HERE

And check out,join and be a part of the
Greenwich Village Festival page: HERE

Made of Stars

2010-09-16T17:44:00.001-04:00

He unlocks the door and walks in. A horn honks. A gaggle of students walk by. The whiff of diluted bleach from the night before meets his nose and becomes more faint once he's fully inside the bar. He's the first one there today.

Dusk grows. The straglers filing in become a crowd. The noise grows. Glasses clang. The cash register cha-chings. Musicians tune up. Conversation becomes laughter. The juke box gets unplugged.

The Emcee takes the stage. The mob settles in to listen and hear. The bartender works and listens with one ear.

He never wishes he was down the street in someone else's club. What's happening here can't be happening there. It's unimportant. He knows the happenings of this one place. Right now. He's entranced by the soothing harmony and honest words like everyone else. He's encapsulated and feeling it with one heart like everyone else. He's listening with one ear and working his bar for everyone else.

He's listening. He hears. He knows who is telling of something true about themselves. And he knows a performer. And he knows a phoney. And he knows his business. Right here. And he doesn't want to be anywhere else. He knows that whatever is happening right here is what matters. On his stage. In his place. And he's listening in silence like everyone else. He's working but he's there like everyone else. He's entangled in the musical web being woven on stage like everyone else. He feels a heart pouring out of their song like everyone else. He's working his place and he's there and there's no where he'd rather be than experiencing this moment with friends, guests, poets, patrons, strangers and stars, all.

I lost myself on a cool summer day

2010-09-06T22:20:00.002-04:00

Sometime in September of 1995, a few of the fellas took the train down to the City to meet up with a few others for Jim Moroney's bachelor party. By the wee hours, the remaining handful who could still stand took a jaunt to Alphabet City to drink the rest of our money away.

We all wound up heading into an after hours club on Avenue A that had no name and no visible signage out front showing that it was a bar and lounge. But we found it and in we went instantly doubling the crowd. There were a couple people by the tiny bar and, on a couch with his back to the door, was a guitar player performing quietly for a couple of cute girls. He was forced to up the volume after we decided to stand around close behind him. Not to listen, mind you....Just to stand around.

Within a few minutes, I notice a pal in my group whisper and point to the guitarist. I look down over his shoulder and see a familiar face. It's Jeff Buckley. He had been getting a ton of air time on MTV and radio with a couple of hits from his lone album, Grace. Back when MTV actually played a slew of appealing music videos, one could hardly turn it on and not see the new face du jour. And the local radio station out of Woodstock felt that a day wasn't complete without hearing "Last Goodbye" at least twice.

I was semi-aware of the hint of connection between him and me. His father Tim was one of the Greenwich Village personalities who became a recording artist no doubt aided by exposure in the clubs around Washington Square and elsewhere. It's unclear whether he ever played the open mic at Folk City, but it's more than likely he was served in my grandfather's bar and, if so, he surely took in some musical entertainment. It could have been an interesting topic of conversation when I later found myself standing next to Buckley at the bar.

But I didn't say anything and turned and walked after getting my 17th beer.

He wasn't in a particularly chatty mood anyway after what the very drunk Tom Coffey said in his ear a few moments before. Once word had traveled around my crew that the guy on the couch was "on MTV", Tom exclaims, "who THIS guy?! Lemmie tell ya something. He's a small puppy in a BIG WORLD!" leaning over towards Jeff to make sure he heard him. The girls were most seriously displeased with us as was my friend Chicago Dave when I conveyed this memory to him last year.

I was aware of Jeff Buckley's music for years but hadn't explored it in depth. Dave insisted that I get the only album released while he was alive. It's somewhat autobiographical, prophetic and unquestionably passion-filled. His father left home to pursue his career but he left behind his musical talent. A poet and musician like Jeff would have fit right in at Folk City. The album is well worth a listen.

"Tears scattered 'round the world"

Sadly life was destined to end for Jeff in May of 1997. An accidental drowning in the Mississippi shortened his blossoming career. His father Tim had also died at an early age.

(where are you going with this, Bob?)

Well, about a month ago, I spoke with a friend who was actually there that night and finally the name of the nameless club came to light....

Save the Robots.

Which still has nothing to do with why I'm telling you all this. It's just that I have learned some vital lessons since I started chasing the ghost of Mike Porco. One lesson being that there are many more than six degrees of separation to that man. In theory, there were more in 1995 but even today, there are scores of people walking the streets of The Village who sorely miss Gerdes Folk City and would share a moment with me if they knew the level of my interest.

Since I began my journey into my grandfather's past, I have been making connections with people left and right who remember him. The internet, of course, has been helpful but I've made some connections by simply speaking up in person. Two that come to mind were made at Pete Seeger's Sloop Club Song Circle in Beacon. I overheard Lydia Adams Davis walk merely mention Folk City as she walked past me so I introduced myself. Lydia played the reunion 4 months later. Another night, I was at "The Sloop" announcing the potential of an anniversary concert and new friend and Pete's booking coordinator Roland Moussa approached me. Roland spent many a year in the Village with Havens, Dylan and Ochs. Roland opened the Folk City at Fifty show.

Maybe the most interesting chance meeting through all this was coming across Dominic Chianese who would later become a co-emcee for Porcofest. I was telling a client of the progress being made in contacting people for the reunion. I was also telling her, during the workout, of some of the unlikely folks who have a history performing at Gerdes. I was pointing out those who had made their names in another craft such as former bluegrass banjoist Alan Arkin, Woody Allen collaborator Marshall Brickman and a Village gypsy turned actor who was best known for playing "Uncle Junior Soprano."

"Oh I see him on the block all the time. I always see him at Conte's on 89th and York," she says to me. Now, I had trouble getting contact info for Dominic over the 'Net. I knew that he had Emceed for my grandfather but I had no luck finding him. And now she's telling me that not only is he in her neighborhood, but he hangs out on the opposite corner of the very block we were on. I don't know how many blocks there are in NYC, but I didn't have to cross a street to leave Dominic a personal note.

Freaky, right?!

(More on Dominic on another post...)

And already there have been many others who have now gotten wind that Mike's grandson is lurking somewhere out there. Those I've had the honor of contacting so far have offered the kindest words and encouragement.
If they didn't get to know the man behind the bar, they certainly knew of his bar and have fond memories of the music and vibe they experienced there. In many cases, all I had to do was make myself known...announce myself to the people of this extended family letting them know that I'm interested in hearing about how it was and what memories they can pass on to me.

Of course, there are others (the Big Fish, as I call them) whom I will have to chase and chase until I catch them...but catch them I will. And stories they will tell because Gerdes Folk City was that kind of place. And luckily for me, Mike was that kind of guy.

But I'll never catch anybody or get to the bottom of this untold story if I don't speak up and drop a worm in the waters.

From Jean To David

2010-08-26T15:46:00.005-04:00

A mountain dulcimer player from Tennessee came to New York in the summer of 1976 with five songs and a dream. He dreamt of catching on to and being part of whatever movement was taking place in the Village. He had become aware of some sort of Folk Music revival after seeing coverage in Rolling Stone magazine about Bobby Dylan's Greenwich Village kick off to the Rolling Thunder Revue. The party, held at Folk City on the 23rd of October 1975, doubled as a surprise 61st birthday party for Mike Porco. Whatever scene he had heard being dead and gone seemed to be alive and well and still residing on West 3rd Street.

So with his heart on the mend from a breakup, his gumption and dulcimer polished, he drove his 64 Ford to NYC bound by aspirations to see what it would be like to be a real live Folk singer.

It wasn't long before David Massengill got up enough nerve to get on stage to show the world what he could do with a dulcimer and five songs. After seeing a couple of open mic performances in town, he decided to try his luck on stage at a place called the Dugout. Sometime during one of his two song set, it was quietly suggested to him that he leave the stage at the bequest of management who seemed to like only guitarists. It would be a month or so before he stepped onto a stage again. This time it would be at Folk City.

In the meantime, David had watched the famed Monday Hoots from afar judging for himself whether or not he was good enough to perform in front of a live crowd. The first act one night was John Macandoe.

"Macandoe was just unbelievable and I said to myself, 'I can't be on stage if this is what I'm up against,'" David recalled. "But then the next guy was just awful and I then thought that I would at least be better than him. So it gave me hope."

Eventually he worked up enough moxie to bring himself to a Monday night hoot and actually pick a number from the hat to ensure his place in the lore of Gerdes Folk City. Three songs later, it was over. Eight months later, after the nerve-racked trembling hands, arms and legs stopped shaking, he finally had his first full week's booking as the 20 minute "opening act for the opening act." The show was headlined by future Folk Brother, Jack Hardy. David Bromberg played the 40 minute interval in between the two.

~~~~~~~~~~~~~~~~~~~~~~~~~~

The Original Acoustic music scene had virtually lost its epicenter by the mid-1970s. The Coffeehouse circuit of clubs in Greenwich Village that had its heyday in the 60s had died out with almost all the clubs taking Gerdes' lead in becoming Union wage-paying rooms. The musicians who were lucky enough to get record deals were coming around to perform less and less. The music industry itself had changed dramatically. The number of traditional folk musicians getting signed by record companies was dwindling down to a select few. The agents scouting for talent had much less room for error since a newly enforced tax code made it more difficult for record companies to write off losses incurred by unprofitable recording artists. The blossoming of the FM radio crowd beget more bands that had instant marketing appeal. And with that, club owners leaned towards booking label-backed acts that had marketing and promotion already built-in. The market for the traditional stand up Folk singer was dying out. But Massengill and his contemporaries sensed something was still brewing in the Village and they were determined to band together and stay true to their art form and breathe life back into West 3rd St.

Slow train comin'

2010-06-29T14:37:00.005-04:00

The test begins...

Still, I have to fetch the data. Some musicians have asked...now what?

To that I say: You tell me

....well. Not quite. I have an idea but it's a-ways off. Be patient right along with me. Thank you.

There are only several earthlings ever to read this but I'll let you know that I'm going down to the East Village Thursday to pick up more digital photos. Later that day, I'll get back to midtown to discuss the conversion of the DV tapes to watchable DVDs. Paul Lovelace's staff of Cathryne and Hilary took 7+7+1 hours of video none of which I've seen. Paul directed The Holy Modal Rounders' film Bound to Lose and is working on Radiounamable about Big Bob Fass. I'm sure the footage will be something incredible....even the first hour with motormouth Bob Sr being quite incapable of shutting the fuck up as we took a walk to 4th and Mercer and back. Mother F¥%@er

then I'll get the digital audio to put on ice for a spell.

I've had the pleasure of watching the single shot DVD version taken from the Village Underground soundboard perch. Multitrack sound. New things picked up on with each new viewing. Some people stayed to watch over 6 hours of music. To my recollection, I don't remember any musicians beyond Mark Dann, Frank Christian and Peggy Atwood see over 35 sets...maybe all of them. A few left for dinner and came back. A few left early. A few came late....all as expected....but I noticed Peggy during my welcome and intro at 7:00 and wound up onstage again with her, Frank, Mark, Nick Holmes, Rod MacDonald and an unknown tom-Tom player at 1:30. I missed an awful lot. Sounds like it was a good show.

I know it was because I saw the replay. Some unbelievable moments caught in a live stream. Lots of set up time and getting mic happy to get cut out but from there....one-by-one...songs delivered with such care and honetsy.

I will share copies with musicians only first. I ask others to please n't ask "when" copies are being made. I don't know. I'm not sure if. And that's not to mention that at this writing, I don't even have the data all collected in one place. Like I said, slow train comin'

Shot in the arm

2010-06-18T11:27:00.003-04:00

Something in my veins, bloodier than blood
Something in my veins, bloodier than blood
Something in my veins, bloodier than blood
Something in my veins, bloodier than blood
~wilco

Review from the locally rolled paper

2010-06-14T09:47:00.008-04:00

Positively 3rd Street

Reminiscing is a human trait. No other animal has the ability to pay such homage to the past as we do. There are memorable dates in history and then there are not so memorable dates. Many dates in history are owned solely by one event that took place or by one person's accomplishment.

Take March 2, 1962 for instance. Basketball legend Wilt Chamberlain, playing for the lowly Philadelphia Warriors, scored an insane 100 individual points in a meaningless game against the New York Knicks. It was played in Hershey, PA where the paid attendance was exactly 4,124 people.

The still unsurpassed feat was historic and has been since the final buzzer. Over the years, thousands more would claim to have been there, too.

On that day, Paul Paulson headlined a less memorable booking at Gerdes Folk City.

Historical claim to the 15th, 16th and 17th days of August 1969 belongs to a music festival visible from space called Woodstock. Big, little Yasgur's farm in Bethel, NY hosted the unforgettable event where an astounding 186,000 tickets were sold and an even more amazing 400,000(!) people were estimated to have seen Gerdes Folk City alumni Richie Havens, Arlo Guthrie and Jimi Hendrix perform. (yes Jimi played the Village) Probably a million more folks have claimed to be at this watershed moment in American history.

That week, the (in)comparable Will Street played a(n) (un)forgettable 12 set stint at Gerdes Folk City.

Incidentally, Gerdes' owner, Mike Porco, was less than 3 months away from meeting his 7th grandchild, Robert Jr. As it turned out, forty years later this same Bob Porco would coordinate appearances by 40 former Folk City performers in a music filled tribute to his late grandfather and his night club.

June 7 of this year brought us a game 5 of the Stanley Cup finals between the Flyers and Blackhawks; a record breaking 8 three point shots by Celtic Ray Allen in the NBA Finals against the Lakers and a record-tying 11 one-run games in Major League Baseball. But Gerdes Folk City, which has lain silent for 23 years, once again came alive with perhaps one the most memorable concerts ever to take place in New York's Greenwich Village.

Its been Fifty years since Mike Porco first invited aspiring singer songwriters to come in from the cold to perform for a paying gig and a warm meal at his Italian restaurant on 4th and Mercer. On a gorgeous night this past Monday, some forty Folk and Rock dignitaries came back to the Village's former headquarters to celebrate the 50th Anniversary of Porco's eatery morphing into what Bob Dylan called in his autobiography, Chronicles, "the preeminent Folk Club in America."

Bobby Dylan would know. He began his career at Gerdes. As did countless others like Arlo Guthrie, Phil Ochs, Simon and Garfunkel, Judy Collins, Emmylou Harris, José Feliciano, Tom Paxton, Steve Forbert, Suzanne Vega, John Hammond Jr., Rod MacDonald, Willie Nile and a host of others.

None of the performers there on June 7 would dispute Dylan's claim. Nor would the roughly 200 patrons who came to what is now The Village Underground to witness a gathering of Greenwich Village royalty not soon to be forgotten.

That's right. Just around 200 (musicians included!) got chance of a lifetime to see and hear some of the living breathing legends of the New York Music Scene from the 1960s and 70s perform in the flesh on stage. Hardly a ripple was felt in the mainstream news wires but organizer Bob Porco said it will be looked back upon as one of the greatest evenings 3rd Street has ever seen.

"It would simply be impossible to duplicate. I'll never be able to pick a date in the future that would just happen to fit into the schedule of such busy musicians." When asked how it took place, Porco quickly answered, "An inner muse opened my eyes and inspired me to seize the moment. The planets aligned for this reunion, no question,"

The daunting task of recruiting so many performers (not only musicians as spoken word artist Poez and comedian-poet Steve Ben Isreal also took the stage) for one night was made easier by the living memory of Bob's grandfather. He felt that there was an immediate level of trust formed between everyone he contacted because Mike was fair and honest with all of them when they were starting out.

"I was shocked at how accessible they all were," Bob said adding that social networking website Facebook was essential in finding several luminaries. "So many of them simply replied back with their home phone numbers and addresses. Suze Rotolo said I had a magic name. I was inspired to keep going. "

The Porco name had been useful when he began to work on his original project back in November of '09. "I had already been at work conducting interviews for a bio on Mike Porco. I just had to backtrack and contact everyone again to tell them of the possibility of a reunion." Many of the performers responded with firm confirmations right from the get-go. Porco was confident that he could make something of the artist's offering of their time.

Like his grandfather 50 years before, opportunity fell into Bob's lap. Perhaps channeling Mike Porco's fortuative nature, Bob gladly took the ball and ran with it.

He recalls the moment the plan took shape. On February 19th of this year, he sat upstairs at the corner of the bar in the very space that was once Folk City, The Fat Black Pussycat. "I met Vincent Vok for a drink before going to watch Richie Havens at Carnegie Hall. We thought it would be cool to just get everyone together again. Then we thought it would be better if they brought their guitars".

Vok, along with Emmylou Harris and sisters Maggie and Terre Roche, had the distinction of not only performing for Mike Porco, but of also once being on the payroll as employees. A friendship between Vok and the younger Porco budded quickly. Stealing a line from the movie, Field of Dreams, Vok told Porco, "if you build it, they will come." Laughter ensued but, in their minds, the Anniversary party had been born.

The very next morning, the venue for the reunion was tentatively secured via an email exchange between Bob and Fat Black Pussycat/ Village Underground proprietor Noam Dworman. Noam was well aware of the musical provenance of his W3rd Street bar and offered his space to be a part of history. Dworman's late father, Manny, was an acquaintance of Mike Porco when they were both booking acts in their respective clubs.

Originally touted as a once-in-a-lifetime gathering of the stars that made Gerdes what it was, the 50th Anniversary Reunion certainly lived up to its billing. Porcofest, as it was dubbed by the show's last scheduled performer Erik Frandsen, filled the Village Underground with a slew of traditional and original songs all performed one-by-one by the super star line up.

The audience was first wowed by the parade of arrivals into the downstairs venue. Porco recalls his time spent at the ticket booth when the doors opened:

"I didn't anticipate the rush of volunteers, artists and concert goers all coming down at the same time wanting to say hello. I had communicated with many of them by email or phone only." With a robust chuckle he adds, "hardly any of them knew what I looked like."

Some performers were known to Bob from his days conducting face-to-face interviews. Eric Weissberg, Happy Traum, Terre Roche, Frank Christian, Jack Hardy and Rod MacDonald were a few of the early arrivals to receive a hug from the party's host. Many others who had been in contact with Porco frequently had still only learned what he looked like upon arrival. Some were greeted by happenstance.

"I just happened to be walking upstairs when Sylvia Tyson strode in. I stood up and said, 'you're Sylvia!' and she said 'yes. And YOU are?'" A mandatory hug followed between past phone interviewee and host. Bob then carried her guitar case and escorted her to a comfortable place to sit.

"I knew this show was a big deal when people stopped to see her come through and I overheard folks whispering her name. By then the place was packed. I couldn't believe it!"

Vince Martin, Richard Chanel, Jonathan Kalb, Willie Nininger, Biff Rose, Sally Spring, Nick Holmes and several others finally put a face to the name at the bottom of those stairs. When Judy Gorman approached, she politely asked "are you Bob?" before handing him flowers. "I never got flowers before. I was humbled."

Bob also had a little fun with his anonymity. "I teased Bev Grant that she had to pay to get in and she looks at me like 'who is this idiot?!'

Five minutes before showtime, everyone figured out who the host was as he took to the platform stage to say a few opening remarks. The show started with a brief warm welcome complete with audio played on the house speakers from a radio interview Mike Porco conducted in that very same space some 31 years earlier when it was his small office.

In it, Mike accepted the label of being the "father" to many of the Village musicians while cheekily admitting, "I may be their father but I never met their mothers". Many in attendance listened with looks of satisfaction to hear his voice once more.

In closing, Mike's grandson predicted that Folk City's finest moment has yet to take place. "I think we're all about to witness it tonight and experience it together as it happens."

*******

A few dozen die hard music lovers were still there to hear Rod MacDonald pay tribute to Phil Ochs with a tranquil and heartfelt "Pleasures of the Harbor" and David Massengill perform his timeless masterpiece "Road to Fairfax County." The evening finally wrapped up some 6 hours from showtime- forty five minutes after Mr. Frandsen left the stage- with a seven person rendition of "Knockin' on Heaven's Door," a song written by Gerdes' favorite son.

It's likely that none of the guests that night will argue with Bob Porco's earlier claim about Gerdes Folk City carving a new place for itself in today's world. Vince Martin, one of the night's many highlights, said that it satisfied a long time itch. The scores of patrons who got wind of the event are likely to never forget it. It was as joyous and cheerful as many a year at the old Folk City was said to be.

Only time will tell how many others will claim to have "been there" to witness the magic as it unfolded. And the few who know the truth won't mind their inclusion. It was something special and should be shared with everyone- both those who couldn't make it and those who could no longer be with us in person.

Gerdes Folk City at 50 on the WWW

2010-06-10T09:57:00.002-04:00

Frank Beacham's Journal coverage: HERE

Getty Images: HERE

Google search for the Anniversary: HERE

YouTube Search: HERE

Brian Rose blog coverage: HERE

Still in recovery mode...

2010-06-09T09:20:00.003-04:00

The mandate was to have a blast...enjoy the opportunity to the fullest...stay til the bitter end of the night...encourage the A-game performances...share it with all...capture the history as it was being made...

Mission: ACCOMPLISHED

The last troupe of musicians and I were politely asked to wrap up the show with a suggestion from the manager of the venue saying, "you've got to stop this...we've got to clean up"...to which I relayed to Rod MacDonald, "let's play two more"...which he heard me to say, "Let's do one more and a medley." Nick Holmes tried to start a 12 bar blues but to no avail.

I was then happily taken (or is it token) along to the next stop by Rod, Nick, Mark Dann and David Massengill to Mr. Frandsen's abode where a few more tunes were most seriously enjoyed.

Overheard at the Faux Chateaux..."Well, I've had a wonderful time and it looks as though the clock is going on 3:30. I was wondering when you all were going to start considering getting the fuck out of my apartment." Ever the gentleman.

Still time for a pizza slice and/or falafel in the Village.

I must say, I DID finally learn one of life's great lessons that morning: You can't have a hangover if you don't go to sleep

Porcofest. A weekly hoot?

2010-06-08T04:50:00.004-04:00

Well, somehow I ended up on a bench outside grand central at 4:45 in the morn. Not the first time but certainly the first with so much shit to carry. At least it's a nice night.....day....

Pale Sun is illuminating building tops.

Gonna be waiting for who knows how long. I'll check the schedule in a half hour. No trains running. That's a given. Last time I was down here with a guitar was during the blackout in '03. Caroline was pregnant with Angelina and I didn't even have a cell phone. I had eight dollars. But for some weird reason, I decided to bring my guitar down that day. I don't play well but well enough to entertain myself. I parlayed a few songs for a corona at tequillaville on Vanderbilt. I then walked back to the upper east and slept at work. But now I'm here with a suitcase and guitars. I should play. It's getting noisy.

How can I sum up tonight? Impossible. The room sounded like one instrument. Seamless performances. Jaw dropping-type shit. Stop-and-make-you-stare type shit. WOW. And a special appearance by Mr. Bromberg. The room was coming apart at the seems at times.....very quietly at times. Unexpectedly at times. But definitely most of the time.

Some images are burned in my mind. No camera caught the after hours living room session after porcofest. No one saw me meet almost all the performers for the first time. I introduced Sylvia Tyson to my wife and sister....I hugged many a man tonight. I kissed dominic chianese's cheeks. I guess I'm on the books here at folk city.

A good goddamed great time was had by all whether they wanted to or not. Those in that room had certainly expressed themselves to the performers. It was magical. Not a cut less.

Thank you all for coming and enjoying yourselves. To think this kind of thing took place every once in a while at folk city is astounding. Just priceless people and good times. Well done, porcofesters

F* the new York times

2010-06-03T14:01:00.002-04:00

Not something they'd cover, they say.....

I'll make it more clear for them.

I'll say it in a way any fifth grader can grasp:
The names scheduled to appear are not coming to just "hang out"....these are the FCKN living, breathing GIANTS of the Greenwich Village Folk Scene. They are going to perform on stage one by fkg one all night...or at least until you figure out that you've missed something...and then they will play some more.

If anyone has an" in" with that dishtowel, tell them this is their last chance. The world can't fit in that shoebox but the world should know about Porcofest. They may have to close the thruway again

Publicity making its way around (some)town

2010-06-01T14:44:00.006-04:00

Thank you Ann Rebecca for talking up the bash....see you there!
Woman Around Town

Thank you Susan Green for getting me in touch with Bob Yellin and sewing up a nice story for your Green Mountain neighbors....see you there too!
**********************************
Folk City at 50: Vermont musicians recall N.Y. club as concert celebrates its legacy

BY SUSAN GREEN, FREE PRESS CORRESPONDENT • SUNDAY, MAY 30, 2010

Weather permitting, five decades ago acoustic musicians regularly congregated for Sunday afternoon jam sessions in New York's Washington Square Park.

In 1960, the Greenbriar Boys were belting out bluegrass tunes there on May 29. Someone invited the trio to perform the very next night at the debut of Gerde's Folk City, a new Greenwich Village venue on West 4th Street. That's how banjo wizard Bob Yellin, an Underhill resident since 1985, recalls the start of his former band's professional career.

None of them realized they were making history. And the ensemble had no inkling that another Gerde's gig, in September of 1961, would propel their opening act into the stratosphere: Bob Dylan was "discovered" at the show because a New York Times critic wrote a rave review and a record deal quickly followed.

The smoke-filled cultural mecca owned by Mike Porco relocated to West 3rd Street in 1971 and closed in 1987, seven years after he'd sold the place. But his grandson, Bob Porco, will host a June 7 commemorative gathering at that site, now home to the Fat Black Pussycat and the Village Underground.

Folk City at 50 is the name he's given to the nostalgic anniversary shindig, where the sound system is expected to be state-of the art. Was it at least adequate for the Greenbriar Boys' initial appearance at the club's original locale?

"Are you kidding? We're talking about an event that occurred a half-century ago," notes Yellin, whose subsequent Joint Chiefs of Bluegrass would gain a significant Vermont following during the late 1980s. "As far as I remember, there was a good-sized crowd, and we all played for free."

Gerde's is where the president of Vanguard, a prestigious folk label, came to see the Greenbriar Boys -- ultimately paid by Porco for their performances -- before signing them. The group's first album was released in 1962.

The well-regarded watering hole also helped launch Richie Havens, Jose Feliciano, Emmylou Harris, Arlo Guthrie, Simon and GarfunkelpastedGraphic_2.pdf, and Peter, Paul and Mary. Robert De Cormier, who now lives in Belmont and directs the Vermont Symphony Orchestra Chorus, served as the three-member folk combo's music director for almost 30 years.

He frequented Gerde's back in the day. "It was a very exciting time," says De Cormier, a veteran of the folk scene even before what's considered the "revival" period of the late 1950s and early '60s. "When I got out of the Army in 1946, I met Pete Seeger, Woody Guthrie, Leadbelly and Paul Robeson."

These legendary artists created the foundation for what successors, such as Dylan, would eventually contribute to the zeitgeist. For Yellin, the touchstone proved to be Lester Flatt and Earl Scruggs, Southern bluegrass virtuosos who inspired him to begin learning the genre while he was still in high school.

But Mike Porco at first probably had little familiarity with any of those names. He was an Italian immigrant who, with three of his cousins, established Gerde's as a restaurant that employed instrumentalists only to provide a soothing atmosphere for patrons who came to eat and drink.

In November 1959, Porco and some additional business partners temporarily reinvented Gerde's as the Fifth Peg, which featured vocalists. Inaugurated as Folk City six months later, the club arguably was Lower Manhattan's first real showcase for rural roots music and its urban counterpart.

Monday evening hootenannies were especially popular with ragtag troubadours who attracted a bohemian clientele. A generation of Americans had begun to resist the stifling conformity of the 1950s, a movement that included a passion for songs about righting society's wrongs.

"Gerde's was an immediate success," says Bob Porco. "New York and Greenwich Village needed a legitimate stage. After Folk City, everyone else began holding open-mike nights and paying union wages."

When the building was condemned in 1971, the operation moved to what was once "a seedy strip joint" at 130 W. 3rd St. The folk scene had changed, rock 'n' roll assumed ascendancy and Vietnam protests diminished.

"Everybody plugged in after a while," Bob Porco says, "but the political spirit was gone from the music. Nobody had anything to be really pissed about anymore once the war was over."

Something happened to restore Gerde's to its former glory for a few years before fading again in the wake of disco and punk. Dylan, the conquering hero, returned Oct. 25, 1975. He chose the nightspot to announce his upcoming Rolling Thunder Revue (a cross-country tour that made a November stop in Burlington). Roger McGuinn, Ramblin' Jack Elliott, Joan Baez and Bette Midler were on hand at Folk City to offer a few tunes, along with Bruce Springsteen -- who had flown in expressly for Mike Porco's simultaneous surprise 61st birthday party.

Yellin had his own unanticipated visit from an old pal when he moved his family to Israel two years after the Greenbriar Boys broke up in 1967.

"One day on the kibbutz, who comes by but Bob Dylan!" Yellin says. "He was giving a concert somewhere in Israel. The kibbutz was never the same after that."

And some might contend the world was never the same after Dylan put Gerde's on the map so long ago.

Bob Porco, a personal trainer, has temporarily set aside writing a biography of his grandfather to concentrate on arrangements for June's landmark event. He grew up in the 1980s crazy for heavy metal, but lately has been steeping himself more than ever in Grandpa Mike's milieu.

"It's as if I'm taking a crash course in Dave Van Ronk and Reverend Gary Davis," he says, referring to two stars from the great Gerde's pantheon. "I'm enjoying that ride."

I snuck Happy's name in there....

2010-06-01T09:20:00.004-04:00

Yes....I'm sure many of you noticed Happy Traum added to the line up post last week. Unfortunately, Pat Sky has engagements elsewhere and won't be able to join us....but we've added Happy, Guy Davis, Sally Spring, Su Polo, Joe Virga and John McEuen.....one step back. Six steps forward. More info to be blogged upon soon.

(a VIP list has been started in case it becomes crowded early...to limit your wait on the street, contact folkcity50@gmail.com so you can get priority....those who've been in direct contact with me are already on the list)

Some links for Gerdes....pictures and info

2010-05-29T11:10:00.002-04:00

Link from Bob Dylan Roots: HERE

About.com Gerdes history: HERE

Gerdes in Wiki: HERE

Peter, Paul and Mary...official site telling of their first ever time on stage as a trio at Porco's place: HERE

Public Facebook page "Face down at Folk City": HERE

mONDAY Monday mONDAY

2010-05-24T14:30:00.005-04:00

Allow me to disclose some missing info....along with the updated line up (in no order)

Jack Hardy
Dominic Chianese
Eric Weissberg
Bev Grant
David Massengill
Rod MacDonald
Willie Nile
Roger Sprung
Dick Reicheg
Vincent Vok
Erik Frandsen
Jonathan Kalb
Willie Nininger
Peter Stampfel
Lili Añel
Biff Rose
Lydia Adams Davis
Bob Horan
Steve Ben Isreal
Vince Martin
Richard Chanel
Frank Christian
Randy Burns
Mark Dann
David Amram
Roland Mousaa
Dirdy Birdies Jug Band
Sylvia Tyson
Joe Virga
Heather Wood, Ken Schatz and George Stevens``
Peggy Atwood
Judy Gorman
Poez
Terre and Suzzy Roche
David Goldman
Nick Holmes
Sally Spring
Happy Traum
Guy Davis
John McEuen
Su Polo

CRAZY right??!

.......so far......there are a couple of other known unknown unconfirms coming....won't disclose those names until i know fer sure.......

Also, it probably would be helpful to know what time we're having this shindig. Let's plan on a 7:00 PM EST showtime, shall we....? Feel free to start arriving after 5 or 6 to schmooze and give me a hug. Those who wish to jam acoustically...let's do it in The Fat Black Pussycat until showtime. I'll be there around that time to meet and greet but will have to go down to the Underground venue to make a welcome announcement and get the show on the road. We will be providing a closed circuit feed of what takes place downstairs to screens upstairs(street level).

We have decided that we must charge a nominal entry fee at the door. Tickets will be sold at the door only for $10.

Two weeks from today...

and if you'd like help cover labor costs and get a first-edit BOOTLEG CD, please donate to Kickstarter here

(PS- Still need a volunteer or two to help with tracking artist CD sales and making change. Perhaps only 60-75 minutes of "work"...go on the tab for your offering of your time...email folkcity50@gmail if you'd like to help)

And now for something completely different....

2010-05-18T16:20:00.006-04:00

So I started this blog, I may as well blog. Which to me means "spew".

So I'll spew a bit, but all in context of my journey down the road to Grandpa's Gerdes Great Off-The-Grid Get toGether Gathering.

As some of you know, (you know who you are) I was inspired by a celestial force of nature to finally do what I've always talked about doing- write a book about Greenwich Village's unsung hero- Mike Porco.

Admitedly, I didn't get to know my grandfather as well as some of his patrons but he was always a big figure in my life. No "On Golden Pond"-type moments fishing and farting but I do have many memories of his mannerisms and persona. He's like the old elm tree you used to climb in the backyard of your youth. You miss it the most once it's gone.

The history that took place in his club was never lost on me, I just didn't know the complete cast of characters and the order of events. I've been determined to discover all that and more.... and document it.

So far, I've heard unbelievably great stories from those I've spoken with. I will hear hundreds more before I'm through, no doubt. I'm having quite a good time connecting with everyone and learning about you all. Everyone has been super kind. Quite a blessing and quite a surreal trip at the same time.

I've name dropped my way into everyone's lives in progress asking them to bring up their fond memories of the past. No one I've spoken to so far has held back or disappointed.

But there are others along my path that deserve thanks because they've done things and lent a hand to my project, in some cases, separate from ever meeting me personally.

>>>My old friend from Ithaca College (where I never took a class and, thusly, never graduated from) Dan "Captain" Kirkhus recreated the putrid West 3rd wall paper you see on this blog. His outstanding web design skills can be found at isotopemedia.com

>>>Dr. Rose Reissman has encouraged me to no end both in my writing and on this 50th anniversary party. She even had me speak about Mike and play guitar for her Brooklyn middle school students in April where I closed the "show" with a sing-a-long of "Knockin on Heavens door" then signed autographs (hahahahahaha) in PENCIL, no less. (ooohahahahaha!)

>>>Frank Beacham, Brian Rose and Mark Dann- all of whom you'll see at the event offering their professional skill. Wanted to keep it in the Family, you know.

>>>Mitch Blank. My new best friend...like it or not. Cuz he has the ability to transform me into a fly on the wall at Gerdes circa the 60s

>>>The Kickstarter "backers"-Funding the labor costs of a party with a Bootleg CD copy as their reward. I know we can do it! GET YOUR BOOTLEG HERE

>>>My clients- who keep me employed even though I bore them to tears with the details of this party as they manifest

>>>And The Flaming Lips....yes The Flaming Lips. My one constant diversion from Folk music these past months. Sometimes doubt creeps in while putting on a Musical Party when you're not in the music or party business. Wayne Coyne's stargazed, matheQuazed lyrics have accompanied me all this past long winter and early Spring reminding me of the fragile yet unyeilding force that is life. The infinite number of possibilities are always there regardless of one's past actions or perception of the future.

All we have is now
All we've ever had is now

As the dawn began to break
I had to surrender
The universe will have its way
Too powerful to master

I don't know where the sunbeams end
And the starlights begin
It's all a mystery

It only happens if you try
Pain and pleasure both get you high
No one is ever really powerless

Look outside
I know that you'll recognize it's summertime

Why, why do we fear
To try to fly near
Just beneath the machine

The sun doesn't go down
It's just an illusion
Caused by the world
Spinning 'round

Oh oh oh finding the answer
Oh oh oh oh oh
Finding that there ain't no answer to find
Oh oh oh watching the planets
Oh oh oh oh oh
Oh oh oh watching the planets align

See the sun
It's trying again
It's trying again
It's trying again

Definition of Folk City by Willie Nile

2010-05-10T17:01:00.000-04:00

"It was a down home local watering hole gathering place filled with a revolving cast of Village characters, musicians, comedians, visionaries, crazies and everything in between. It was a place where you could get up on stage and experiment and play your music and hang out till all hours of the night with fellow wanderers, all under the watchful and encouraging eye of the street-wise and kind-hearted Mike Porco. It was old word and new world at the same time and a great place to hang one's hat."

Name and address

2010-05-05T14:30:00.004-04:00

A looooooooooong looooooooong time ago, I mentioned more details about the venue for the Great Gerdes Off-the-Grid Get Together this June 7.....for those unsure of what's currently at the address, 130 West 3rd was where Folk City ended up its last 16+ years.....The Fat Black Pussycat and Village Underground are in that location now....Proprietor Noam Dworman has generously offered Us the landmark spot over by 6th Ave for the night.....state of the art sound and lighting......bass and guitar amps with a drum kit and keyboards.....full bar and small plates from the kitchen.....same front door, bar, front window, new ice machine.....it's ready for a party....bring your liver

backpacks and other large containers are subject to random search by...um...I don't know....Paul Stookey....I have no idea. Whoever wants to check 'em. We're taking volunteers.

Welcome to new York

several thousand thank yous

Dear Uncle Bobby, It's me, Bobby

2010-05-04T12:28:00.010-04:00

Not that we were actually expecting the second coming of Gerdes' own Bobby Dylan on June 7....his tour brings him to Croatia that day. If we still had the Concorde, we might have had a chance... I'm still on his trail hoping to one day go face-to-face with Zimmy. (Call me when you get back to New York City Uncle Bobby...)

In other news, we've surpassed the 30 performer mark!! Looking at 5 hours of music...if you think you can handle it. Too many, you say? That's a hot show, I say. Rock, Folk, Jazz, Blues, Old World, Traditional, Rock, Blues, Folk, Bluegrass, Jug Band....

Full line up to be posted soon...another partial list post right here:
Jack Hardy and Dominic Chianese as Co-Emcees
David Massengill
Roger Sprung
Vincent Vok
Bev Grant
Jonathan Kalb
Erik Frandsen
Willie Nininger
Peter Stampfel
Lili Añel
Bob Horan
Biff Rose
Randy Burns
David Amram
Vince Martin
Steve Ben Isreal
Frank Christian
Sylvia Tyson
Patrick Sky
Willie Nile
Rod MacDonald...

Once again, my warmest THANKS!!

I plan on sending a first-edit bootleg version of the show to those who make a quality recording possible. Donate to our Kickstarter page for your copy:

http://kck.st/aXeesQ

I like Erik Frandsen's reference to the 50th....PORCOFEST!!

Talkin Folk City

2010-05-01T15:50:00.002-04:00

If you're in the greater New York listening area, tune in to 89.1 WNYU Sunday May 2 as I join Anna D. on a show she calls-yes- "Talkin Folk City"
Show starts at noon. I'll join in around 12:50 and we'll schmooze and play a little music.

I'll give a more complete (but not completely complete) rundown of the 30 performers joining in on the fun for the Great Gerdes Off-the-Grid Get Together and Gathering

A little background on Mike Porco

2010-04-26T12:35:00.006-04:00

Michele had worked in the rural province of Calabria since the age of eight when his father apprenticed him to a carpenter. It was hardly uncommon for pre-teens of the old world to have their vocation decided for them by their parents and Michele proved to be a fast learner and a patient woodworker. Young Michele (pronounced Mick-EL-eh) continued with school but it was clear to Angelo Porco that his son's abilities were best displayed by his handy work. His early calling was in the fine skill of cabinet making and he was proficient enough in that trade that by age 16, he had opened his own shop making cabinets and doing woodworking jobs for the townsfolk.

Just two months beyond his 18th birthday, Michele received a long awaited post from New York where his father had gone months before. In it, Angelo summoned his eldest Son to leave his mother and three siblings behind to be with his father and fashion a new life in America. Michele, like millions of European immigrants before him, had dreams of inventing himself in the Land of Opportunity. The only promise he had was from his father saying in the letter that he would meet him at the pier when his ship came in to new York.

Finally, the day planned by his father was upon Michele. In January of 1933 he packed a trunk bound for glory and rode a train 450 miles up the Mediterranean shoreline to Genoa.

The work-strong Michele dreamt of making his way in America the way many of his cousins did before him. He and his father had known of several families that had already settled in New York City from their homeland in Calabria. Michele's father had shuttled back and forth during the last decade to work with extended family members and Angelo had plans to enhance the Porco family's prospects by adding a hardworking wage earner. Armed with little more than half a lifetime's experience in a trade and a wealth of ambition, he readied himself for the adventure of his life. He would later Americanize his name, simply, to Mike.

The Conte di Sevioa arrived in New York harbor in the early hours of the 2nd day of February. The forecast called for a sunny day according to the New York Times. Now with his official papers in hand, Michele was eager to reunite with his father; an event he envisioned happening over the course of transversing the 4600 mile trip to the America.

The melee of welcomers and new arrivals was just another everyday occurrence for the Immigration workers on the pier. For Michele, it was a maddening chore trying to find his father's face in the crowd. Finally, a familiar voice cried out his name from a distance. Again the voice called for 'Michele'. Michele stopped in his tracks unsure of why it wasn't his father's voice. It was a passing thought. He soon recognized the voice of his uncle getting louder as he neared his space. A joyous hug and a tear of a bittersweet welcome accompanied with an awkward silence unexpected by Young Porco.

Tio Luigi had dreaded this heart-wrenching moment. He had to find a way to welcome his kin to the New World and, in the very next breath, tell the boy that his father had died shortly after sending his last letter home to Italy.

The definition of Mike's new beginnings in America had now been instantly altered into a challenge to not only start from scratch but to make his way virtually on his own.

He would have little time to mourn as his fate awaited him in the morning of tomorrow. His fighting spirit surely took a devastating blow from behind on the pier that day but perhaps it was from this absolute emotional bottom that Mike Porco cultivated a level of quiet determination that he would harness and use for the rest of his life in New York. Here at the lowest point of his young life, little could he expect that he would one day play a crucial role in facilitating the revival of a musical movement that would define American society for decades to come.

Mike would eventually offer a stage and a week's pay to every singer-songwriter who was able to muster up "a following." They came from all over the country in hopes of becoming a star in Greenwich Village. But first Mike had to pick himself up and follow his own star.
Copyright 2010 Bob Porco

General Info

2010-04-26T12:17:00.005-04:00

Fifty years ago, Mike Porco added live Folk Music to the menu of his Italian restaurant in Greenwich Village . The rest became American Music History.

Virtually overnight, Gerdes Folk City became the most coveted gig by every hopefull singer/songwriter to make their way to New York . It was the home of New York 's original Hootenanny now commonly known as open mic. Gerdes offered a stage for aspiring stars to make their names known....and many of them did.

The list of those who cut their teeth at Gerdes reads like a who's-who of American Folk and Folk Rock royalty: Arlo Guthrie, Richie Havens, Judy Collins, Simon and Garfunkel, Jose Feliciano, Emmylou Harris, Lucinda Williams, Willie Nile, Steve Forbert, The Roches, Peter, Paul and Mary, Phoebe Snow, David Massengill, Rod MacDonald, Lili Añel, Carly Simon and, of course, Bobby Dylan.

Now, for one night only, many of them are "Bringing it All Back Home" to Gerdes' last stop in The Village for a music filled reunion. This will be the "kickoff" gathering beginning a year of celebrating Folk Music's 50th year of finding a home in New York City.

You're invited to come experience the Folk City at Fifty Anniversary reunion featuring over two dozen live performances by those who made Gerdes what it was...and still is.

WHERE: 130 West 3rd NYC.(now the Fat Black Pussycat)

WHEN: June 7th 2010

Bootleggin' it

2010-04-19T09:28:00.003-04:00

THIS SHOW IS FREEEEEEEEE.....maybe

As any Folk City Hootenanny would be. Kindness to your server is always appreciated.

But there are costs involved, namely, to have professional sound, stage and photographers there to capture a day in the life of all of us.
The link below is a site where we can pool funds to ensure a quality BOOTLEG is made of the June 7 Über-Hoot.

http://kck.st/aXeesQ

We have 50+ days to raise our goal through this "venue" website. Please help make it possible for those who can't be there to enjoy the amazing performances. Those who donate recieve a free copy before mastering. Those who donate make the polished BOOTLEG album possible.

THANKS!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Split down the middle

2010-04-17T11:49:00.006-04:00

The radio spot with Bob Fass went as well as could be. Many thanks to David Massengill for putting on such a nice late night/early morning performance. Go to the archive page if you wish to hear. www.archive.wbai.org

Radio unnamable friday april 16th
we show up about the 1hour 35 minute mark

Some confirmed performer's names were exposed on air for the first time publically.

Allow me to tease you a bit with some names....

Willie Nile
Mark Johnson
Vince Martin
Bev Grant
Peter Stampfel
Randy Burns
Rod MacDonald
David Massengill
Jonathan Kalb
Jack Hardy
Bob Horan
Biff Rose
Lili Añel
Dominic Chianese
Roger Sprung................

So there you go.....

Just a sampling of the unique and diverse lineup we're planning for June 7th

Blues
Bluegrass
Mountain Folk
Rock
Folk Rock
Eclectic undefinable stuff
Even a taste of Latin and Old World

As I said, we're over 2 dozen acts for the one-time event. As of this moment, the number of acts coming over for to be part of the show is closer to 30 than 25. It's sort of split right down the middle as far as Old and New Guard. Pretty cool, Huh?

Am I splitting hairs saying it like that....? Not if the next act splits the headline!!! Too much free music for you to handle for one night??

Let's figure out how to take it all in together, shall we...?

GERDES MUSICIANS:
Don't see your name??? RSVP TODAY!!!!!

FOLKCITY50@GMAIL.COM
And those who have already, DOUBLE SECRET CONFIRM WITH ME AGAIN

Those of you who came to this blog thru facebook.....please spread the word in your own way. Let's make sure the place is filled for the Über-HOOT!!!!

Thanks. Bob

Talkin' Gerdes on WBAI TONIGHT

2010-04-15T13:32:00.001-04:00

Tune in to 99.5 FM in the NYC listening area to here David Massengill and I sit in with radio legend Bob Fass to discuss Gerdes and Mike and whatever springs up from there. Show starts at midnight Thursday. David and I will join in around 1AM.

Archive can be found the next day on archive.WBAI.org

IT'S ALIIIIIVE!!!

2010-04-08T09:59:00.002-04:00

Yeah.

It's a monster.

Word is traveling far and wide...thanks to technology. Emails on the run...bloggin' and facebookin'...excited performers passing word on around the country...sure looks like I'm doing a lot but really it's the musicians and patrons who loved their time at Folk City who have injected LIFE into this gathering...or perhaps it's the musicians and patrons who loved Mike and John. Jury's out.

Anyway, let me humbly say THANKS

And just a bit more info for now:

The Village Underground (Downstairs of the old Gerdes at 130 W3rd) has a complete stage set up. House keyboards, bass and guitar amps, mic's, bongos...the whole enchilada.

Upstairs (ground level) will likely be for schmoozing, jamming and acoustics.

Show time likely 7ish..8ish til whenever-ish.

Confirming acts all this month...Eclectic, historic, diverse, one-of-a-kind line up to be splashed on this blog soon (I promise!)

Check Back...keep passing it on!!

Fourteen, sixteen.....TWENTY!!!!!

2010-03-29T14:20:00.003-04:00

That's right....Twenty (20) musical acts eager to play and celebrate Mike Porco's 50th Anniversary of opening New York's Center of Folk Music.

I'm starting to confirm performers two-by-two....Replies are shifting from definite "maybe's" to "HELL YES!!" Imagine if I knew what I was doing....

Get yourself out of the "maybe" list...RSVP to FolkCity50@Gmail.com before you think twice. Each additional act will only lead to the next.

There's one less "maybe" every couple of days. Confirm your spot on this FIRST TIME, ONE TIME and perhaps ONLY TIME line up including.....

...I promise to let the cat out of the bag sometime in April to let you all know who's planning on making the trip/coming out of retirement/walking over/driving in/heading down to The Fat Black Pussycat to cavort and HAVA THE TASTE once again.

If you're already in NYC, you have no excuse NOT to board the subway with a dusted off favorite ready to play a memorial Hoot for Grandpa Mike Porco.

I suggest an afternoon nap...this could go on for a while...

So far. So good. So what?

2010-03-16T15:26:00.006-04:00

Initial interest from one MASS email has been encouraging!

Over a dozen acts and counting...

In a matter of days, I will be contacting all in my little black book to confirm commitments and secure some more.

To avoid gentle arm twisting, RSVP today to
FolkCity50@gmail.com
(Or just call Bob)

Don't wait for me to expose the list before you decide...many of you know who's likely to be there. See for yourself. Come play on the same stage with fellow greats one more time....and "bringa you following"

The "Old Guard" is represented. (79 year old banjo players are cool!)
The "New Guard" is represented. (including but not exclusive to The One Man Clash)
Robert Johnson is represented.
Rev. Gary Davis is represented.
Dave Van Ronk is represented.
Mike Porco is represented.
Represent your damn self!

People who have never met or played together will be there together for the first time.
Yes. It really will be that special...

Gerdes musicians: Add your name to the list!!!

Cleveland or Bust!!!

2010-03-15T14:55:00.003-04:00

Facebook users and abusers: Join this public page and stay tuned for ways you can help get Gerdes Folk City inducted into the Rock and Roll Hall of Fame.

cut and paste til i figure this blogging nonsense out:
Induct Gerdes Folk City into the Rock and Roll Hall of Fame
http://www.facebook.com/group.php?gid=417578784568&ref=mf

And of course the other public page "Face down at Folk City"
cut it. Paste it.
http://www.facebook.com/?ref=home#!/group.php?gid=45635986613&ref=mf

General Info

2010-03-04T10:02:00.010-05:00

What: Folk City at Fifty! The 50th anniversary of the first honest-to-god folk club in the Village. (Dave Van Ronk said that!)

Where: 130 w3rd NYC- Gerdes Folk City's final stop in the Village.
Noam Dworman, proprietor of the Village Underground and Fat Black Pussycat has graciously offered the Pussycat for this once in a lifetime historic extravaganza. Thanks Noam!

When: Monday June 7th 2010 (subject to change) There are worse things to do on a Monday

Who:
Rumored guests...Havens, Weissberg, Vega, Traum, Baez, Hardy, The Roches, Kaplansky, Vok, Kalb, Atwood, Feliciano, Rotolo, Sky, Hester, Yarrow, Nile, Massengill, MacDonald, Kornfeld, Simon, Frandsen, Forbert, Collins, Christian, Harris, McGuinn, Bromberg, Elliott, Guthrie, Seeger, Mas and on and on and on

Longest running rumored appearance: Bobby Dylan (né Zimmerman)

Actual guests: You know who you are...
List under construction. To be announced in April. Check back for updates!
Gimmie a break! I just started this blog yesterday...

Former patrons and performers RSVP today!

Folk, Folk/rock, bluegrass, blues and acoustic music lovers RSVP now!

To RSVP, send your intent to:
FolkCity50@gmail.com

Come one. Come all!
Bring yourself on down to Folk City at Fifty.

TOUCH the very bar that Mike and John Porco tended with great care!

WALK THROUGH the front door so many great performers and would be stars strode through on their way to into history!

COME AND HEAR some of the greatest singer songwriters perform at Gerdes once again!

HAVA THE TASTE!!

FAQs

What is/was Folk City?
"The Mecca"~ Richie Havens
"Our Headquarters"~ Carolyn Hester
"Like no place else in the Village"~ Suze Rotolo
"The perfect school"~ Steve Forbert
"A mythical place"~ Jack Hardy
"A cauldron of creativity"~ Terre Roche
"A home for dreamers"~ David Massengill
"The preeminent Folk club in America"~ Bobby Dylan
"Gerdes was the starting point of it all"~ Maria Muldaur
"(Folk City) has a certain kind of goodness that transcends everything"~ Ramblin' Jack Elliott
"Folk City was where original singers came to sing"~ Suzanne Vega
"Gerdes meant more to me than any club I ever played in all my lifetime"~ John Lee Hooker
"Folk City was the only place that was really open and encouraging"~ Emmylou Harris
"Folk City was THE folk club"~ John Hammond Jr
"(The place) to get exposure in front of audiences and learn how to work out your songs"~ Roger McGuinn
"The place I would really call home. It WAS my home"~ Judy Collins
"Gerdes was the heart of it all. The ultimate in hip. It was the real thing"~ Joan Baez
"Because of Folk City I developed the act I have now. Gerdes meant independence for me"~ Jose Feliciano
"Folk City was IT"~ John Hammond Sr
"It was THE place to go"~ Lenny Levine
"Folk City meant there was life beyond Macdougal St"~ John Cohen
"It freshened up American life for the better"~ Danny Kalb
"The best parent a person could have"~ Carolyne Mas
"The 60s happened here"~ Maggie Roche
"I got to see John Lee Hooker and Dylan for a dollar"~ Annonymous

Who can I expect to see there?
See above

Can I bring my dulcimer and auto harp?
By all means

And my guitar??!!
Yes you may

Will there be a piano there?
I certainly hope so

What should I wear?
Comfortable shoes

What is there to eat and/or drink?
Food and refreshments will be served