A LIFETIME BETWEEN 117 AND 116 MACDOUGAL STREET

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.


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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



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TOM PACHECO ALANA AMRAM POSTER

BREAKING NEWS- PORCO/GASLIGHT VENTURE ANNOUNCED

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

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?

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

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

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. 

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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

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.