Art D’Lugoff, Jazz (and Calypso) Impresario
Posted by Michael Eldridge on November 15, 2009
The news spread quickly around the jazz blogosphere last week that Art D’Lugoff, founder of New York’s legendary Village Gate, was gone at age 85. Lee Mergner honored him at Jazz Times and Sam Stephenson marked his passing at Duke University’s Jazz Loft Project, while Marc Myers gave a salute at JazzWax and Patrick Jarenwattananon offered an appreciation at NPR’s A Blog Supreme. The latter linked to a New York Times story from October 2008 about D’Lugoff’s re-emergence from retirement to help with programming at Le Poisson Rouge, the forward-thinking Village venue that now occupies the space of D’Lugoff’s old club.
No question: D’Lugoff was a motive force behind a pivotal epoch in jazz history. But his musical interests were catholic: the Gate was famous for its eclectic pairings (his obituarists remember D’Lugoff for his “Salsa Meets Jazz” series, in particular), and his role in, say, fostering the 1960s Folk Revival was every bit as big as the part he played as a custodian of hard bop and post-bop. And lest we forget: “Folk Song,” for the generation that preceded D’Lugoff, the internationalists of the 1930s and 40s, included forms like—you guessed it—calypso. Sir Lancelot stumped for Henry Wallace, for example, while Lord Invader recorded for Moe Asch’s Disc (and later, Folkways) label. Both were at times pulled into the circle of Pete Seeger and People’s Songs, who produced (among other things) the famous series of “Midnight Special” concerts at New York’s Town Hall, some of which showcased calypso, and one of which was documented on Rounder Records as Calypso at Midnight and Calypso After Midnight. (Kevin Burke offers an account of that show at his splendid website, The Rum and Coca-Cola Reader.)
Art D’Lugoff wasn’t part of People’s Songs: he was too young, for one thing, and by the time he became professionally active, the Songsters were being hounded by HUAC. Still, he was a fellow-traveler, and Seeger & Co. made an impression on him; in any event, like them, he saw calypso’s popular appeal. By the mid-1950s he, too, was producing calypso concerts, first as part of his own “Midnight Special” series (a moveable feast at the Actor’s Playhouse and elsewhere), then as “Calypso at Carnegie”—two, three, and sometimes four shows a week, for ten solid months from August 1956 through May 1957. During this period his Festival Productions also managed and promoted several West Indian acts, including the Duke of Iron, Lord Burgess (Irving Burgie, who wrote or co-wrote most of Harry Belafonte’s Calypso album), Lloyd Thomas, Johnny Barracuda, Massie Patterson, and Muriel Gaines, as well as the Virgin Islands Merrymakers and Rudy King‘s “King Rudolph’s Trinidad Steel Band,” between whom he frequently staged “Steel Band Clashes.”
I had the pleasure of talking with D’Lugoff one Spring morning in 2003, in the kitchen of his upper West Side apartment, a spacious place filled with books, music, memorabilia and file cabinets. Our conversation was interrupted by a steady stream of phone calls and doorbell buzzes, and like the rest of the world, we were distracted by certain other external events, as well. (That very day, the warmongers in Washington were marching into Iraq; two days later, 300,000 New Yorkers would march down Broadway in protest.) But D’Lugoff was delightfully voluble, eccentric, and generous, just the same; whenever he remembered something in his files that I must have, he would hastily excuse himself, then reappear a minute or two later with yet another manila folder or sheaf of photocopies hot off the industrial-strength xerox machine that occupied most of the pantry.
I’m away from home and my own file cabinets for a spell, and consequently I don’t have access to my interview tapes and transcripts. Until I get back to California, then, have a look at this excellent interview with Marc Myers (Part 1 | Part 2).
- Village Voice obituary of Art D’Lugoff