Very sad to hear of the passing of Jim Hall, the master guitarist-composer who was a universal influence on guitar sound and practice post-1965. He was playing wonderfully as recently as Nov. 22 and 23rd at a Jazz at Lincoln Center event with two of his acolytes, John Abercrombie and Peter Bernstein. I’d like to share three items documenting separate encounters with Mr. Hall (who I first had the opportunity to meet during the ’90s on several WKCR encounters), most recently in October for the program notes for the aforementioned concert. I’ve also appended the proceedings of a public DownBeat Blindfold Test that we did in Orvieto—where he was performing all week in a two-guitar context with Bill Frisell, bassist Scott Colley and drummer Joey Baron—right after New Year’s Day in 2010, and a conversation for a piece I wrote for DownBeat about the emergence of modern jazz in Greenwich Village during the ’50s. I haven’t transcribed the proceedings of our WKCR shows, in which he related his personal history in some depth. You’ll be able to find biographical particulars elsewhere, but this documentary from the late ’90s, written by his daughter, Devra Hall, is a great place to start, as is this conversation with Larry Appelbaum.
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Jim Hall Concert with Peter Bernstein & John Abercrombie – Program Notes:
“Jim Hall is, in many ways, to me, the father of modern jazz guitar.”–Pat Metheny
“I used to focus on playing like Jim Hall, trying to play slow and really hear whatever I was doing, not let my fingers get ahead of me. I love Jim because it’s not a whole lot of notes, but he generates so much intensity with such a poetic vibe.”—Mike Stern
“Jim Hall is like a magician that makes the rabbit pull him out of the hat. He’s so quirky and unorthodox, but always musical, with a purpose to everything that he plays and does. There’s so much beauty in his playing. Most guitar players go for the jugular vein. Jim Hall showed us that it’s okay to go for the G-spot, too.”—Russell Malone
“Jim plays the baddest stuff I’ve ever heard. It’s like guitar playing from the future, but yet it’s happening right now.”—Julian Lage
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On this evening’s concert, guitarist Jim Hall, 82 years young, augments his trio with fellow plectrists John Abercrombie, 69, and Peter Bernstein, 46. Both regard the elder maestro as a preeminent signpost figure in their stylistic development, while most closely resembling him in the individuality of their respective voices.
A game-changer for the last four decades, a key figure in assimilating and coalescing the various streams that entered jazz expression during the ’70s, Abercrombie—like Hall—remains a work in progress in his golden years, as is evident on 39 Steps, his lyric, harmonically erudite 2013 release on ECM (his 24th for the label since 1974), and on its immediate predecessor, Within A Song. On the latter date, Abercrombie reconfigures in his own argot four songs from ‘60s recordings by Sonny Rollins, Art Farmer and Bill Evans to which Hall made consequential contributions. Among them is “Without A Song,” from Rollins’ 1961 masterpiece The Bridge.
“I heard it in a record store when I was 17, and had an epiphany,” Abercrombie told me last year. “I didn’t know what he was doing, but it sounded so perfect. That was the strongest reaction I’ve had to any piece of music from the jazz world.”
Bernstein experienced his own epiphanies as Hall’s student at the New School during the latter ‘80s. “Playing duo with him then, I’d wonder how he kept the harmony and time so clear,” he recalls. “He’s such a great listener, so supportive, so empathetic—all the things that he is as a human being come through when he accompanies.” Over the subsequent quarter-century, he’s earned the esteem of peer-groupers like Brad Mehldau and Joshua Redman, and elder masters like Rollins, Jimmy Cobb and Lou Donaldson for his touch, the voice-like quality of his tone, the melodic and harmonic clarity of his solo declamations, and, as Hall notes, “his complete avoidance of cliches.”
“Jim introduced a completely new aesthetic,” Bernstein says of his mentor. “He came out of Charlie Christian and Freddie Green, and doesn’t shy away from playing the blues and bebop, and doing things that the guitar wants to do as an instrument. At the same time he’s a very intellectual musician with an advanced harmonic concept.”
As always, Hall will follow the core principles by which he’s operated since his debut recording with Chico Hamilton in 1955. “I try to make each performance kind of a composition,” he says. “The idea of improvising in the first place is doing whatever it takes to appropriately get out of the guitar whatever goes through your mind. Ideally, all of us on stage—whether it’s three or four or five—will always be listening with that same target in mind, to make it into a nice composition.
“I picture myself as a listener when I’m playing or writing. That’s one reason why I solo the way I do. I like to leave space for the listener to reflect on what’s been played already, and then take them some place else.”
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Jim Hall Blindfold Test (Raw):
1. Julian Lage, “Lil’ Darlin” (from SOUNDING POINT, Decca, 2009) (Lage, guitar; Jamie Roeder, bass; Tupac Mantilla, percussion; Neal Hefti, composer)
I actually know him. That’s Julian Lage. I’ve known him since he was 11 years old. I think he’s 21 or something now. I really admire him. He’s very different. A lovely young guy. On this record also, although not on this track, he has a banjo player, Bela Fleck, who is outstanding. That was a Basie tune, right? Right, “Lil’ Darling.” It was a completely unique treatment of a standard jazz tune. Basie’s guitarist, Freddie Greene, was amazing. He really kept the Count Basie band together. When Freddie left, they sounded great, but it just was not the same without Freddie Greene on guitar. In fact, I wrote a piece which we’ll play this evening called “OwedTo Freddie Greene,”
2. Egberto Gismonti-Alexandre Gismonti, “Aguas & Dança” (from SAUDAÇÕES, ECM, 2009) (Egberto Gismonti, acoustic guitar, composer; Alexandre Gismonti, acoustic guitar)
That’s amazing guitar playing, and I have no idea who it is. Egberto Gismonti wrote it and played it? I know Egberto Gismonti, and he is a fantastic musician. He plays fantastic piano, and he’s a composition… I think he lives in Rio still. That’s one of the marvelous things about music. You just played a record by a very young guitarist, and now you played one by a slightly older Brazilian guitar player. [Brazilian music has been in your repertoire for many years.] It’s kind of a gringo version! I just admire Brazilian music so much. We’re playing a piece this week called “Cavaquinho.” I was in Brazil several times, starting in 1959 or 1960. It felt like everybody in Rio played the guitar. Music was coming out from everywhere. It was a great experience.
3. Bobby Broom, “In Walked Bud” (from PLAYS FOR MONK, Origin, 2009) (Broom, guitar; Dennis Carroll, bass; Kobie Watkins, drums; Thelonious Monk, composer)
I don’t know who that is either. [SINGS REFRAIN] I’ve forgotten the name of the tune. “In Walked Bud,” that’s right. Fantastic guitar playing. I could have used a little more harmonic sense, maybe a chord now and then just filling in, but it sounded great. Tell us who it was. Bobby Broom? I just know the name. [He’s played with Sonny Rollins since the early ‘80s.] I know Sonny Rollins. [LAUGHTER] That’s why Sonny doesn’t call me any more. Working with Sonny was probably my most important job. I first heard him with Max Roach’s group with Clifford Brown and Richie Powell, and I admired his playing. I joined Sonny in early 1961. I was only 12 years old. It was very challenging, because it got me practicing. I’m serious. Sonny was and is one of my heroes. I was in the hospital for a long time this year with back surgery, and Sonny called. He never talks very much, but in the hospital we talked for 45 minutes on the phone one day. I almost hesitate to get into this, but in those days there was still a lot of racial crap going on, and Sonny made me aware of it. All of my early heroes were African-American—Charlie Christian, Duke Ellington, Coleman Hawkins, and then Sonny later. It was just fascinating. I was so honored to play with him. This may not be appropriate to say, but I think with our new American President, it’s gotten so much better just in terms of getting along together.
4. Kurt Rosenwinkel, “Fall” (from REFLECTIONS, Word of Mouth, 2009) (Rosenwinkel, guitar; Eric Revis, bass; Eric Harland, drums; Wayne Shorter, composer)
I don’t have any idea who that is. It seemed like it was in an odd meter, 7/4 or 5/4.. I don’t know what they were performing. . It sounded a great ensemble, and I admire the guitar player—it sounded good to me, but I don’t know anything about it. Oh, it’s Kurt. It’s interesting. A lot of this is brand-new to me. If I listen to music, generally it’s classical music. If I listened to great guitar players, it would be depressing. Bela Bartok. He plays good guitar. It’s amazing how guitar playing has just opened up and gotten better. Bill Frisell and I have known each other since Bill was a teenager, I think. Now I’m learning from him. That’s how it goes. It seems to me that one of the requisites of being involved in music, or any art form, is that it keeps growing, and if you’re open, then you will grow as well, and not stop someplace and say, “Well, that’s over; now I’m just going to keep playing this G-7 chord.”
5. John McLaughlin, “Stella By Starlight”(from THIEVES AND POETS, Verve, 2003) (McLaughlin, acoustic guitar, arranger)
Again, I don’t know who that is, but it was an amazing guitar player. I know it’s “Stella By Starlight.” It sounded like B-flat. For me, I love that melody so much, I think that I would not have put all that filigree. I would have concentrated on the melody and the words to the song. I think that needs to be presented. It seems like each piece, especially if it’s a song, should probably be presented in a different way, and this is a love song, and it has nothing to do with flashy picking like “I Got Rhythm” or something. This is an amazing guitar player; again, I didn’t particularly like the way the song was treated. This song came from a period where there were so many fantastic songs that I think need to be played more. I feel like, in a lot of ways, younger people are cheated because recording stuff all got into the hands of marketing people. It’s great to hear lovely compositions performed and recorded again. [AFTER] That was John? I knew I’d insult a friend. Again, I wish I could do that. I’m sure I have a lot of things which would embarrass me.
6. Wolfgang Muthspiel-Brian Blade, “Heavy Song” (from FRIENDLY TRAVELERS, Material, 2006) (Muthspiel, guitar, composer; Blade, drums)
Again, I don’t know who that is. It’s interesting, and it made me think about amplification. It sounded like an excellent guitar player. It’s funny. I still like the sound of the acoustic guitar just being amplified a little bit, but that was a whole different genre, I guess. I hope you’ll hear, when we play later, that I like to be able to hear Scott Colley on bass fiddle, not necessarily amplified, and Joey Baron, who is close to me and I can hear everything he plays. I understand amplification and the need for it, but I think it needs to be, in general, kind of tuned down a bit. Maybe start over with Andres Segovia or something—I don’t know. Because when you perform as a quartet, you’re part of a group of four people, and I like to be able to react to what Scott plays in the bottom of the texture, and then what Joey does. That’s just my personal preference. On the other hand, I don’t want to sound like some old fogey up here. I enjoy all of this music. It’s just that my feeling about music is different. Because I couldn’t hear the individuals in the group at all, and it puzzled me. [AFTER] It would probably make one interesting track on a CD, I guess. Again, I love all the guitar playing. [It’s interesting. I’m selecting one piece from a CD that reflects a broad spectrum of music.]
7. Adam Rogers, “Sight” (from SIGHT, Criss Cross, 2009) (Rogers, guitar, piano; John Patitucci, bass; Clarence Penn, drums)
That one I really enjoyed. Again, I have no idea who it is, but in relation to what I was saying earlier, I could hear the whole texture very clearly. Marvelous guitar playing, and he or she… Do you know Sheryl Bailey? She’s a great guitar player, too—I hate to say “he” all the time. The guitarist would listen to what was happening and react. It seemed like people were listening. I love that. And it sounded very original, too. The shape of the piece, the chord changes, the bassline—it really kept my attention. It wasn’t Les Paul, was it. [LAUGHS] I loved Les Paul.
8. Pat Metheny-Brad Mehldau, “Ahmid-6″ (from METHENY MEHLDAU, Nonesuch, 2006) (Metheny, guitar, composer; Mehldau, piano)
Again, I do not know who it is, but it’s another amazing guitar player. Again, I wish that somehow or other, there was some clarity at the beginning of the piece, so I would know what they were improvising on. The playing was amazing, but it just sounded like playing over chord changes pretty much, and I would like to have… Like with a painting—you have a background and then some stuff added. But I thought it was great playing. I never had great facility, so I just play slowly, and then, when I play a little bit faster, they say, ”ooh, it’s fantastic.” [AFTER] I’ve known Pat since he was about 15 years old. He’s done so well.
9. Jonathan Kreisberg, “The Best Thing For You” (from THE SOUTH OF EVERYWHERE, Mel Bay, 2007) (Kreisberg, guitar; Matt Penman, bass; Mark Ferber, drums; Irving Berlin, composer)
That I enjoyed a lot, too. Whoever it was really presented “The Best Things Thing For You Is Me,” presented the tune very clearly—and again, the guitar player was amazing. I enjoyed it. On every selection you played, I thought the guitar playing was pretty stunning. But that one was clearer to me, because whoever it was played the melody so well.
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Jim Hall (Vanguard 70th) – (Jan. 30, 2005):
TP: 70 years in one place in Manhattan. It’s staggering.
HALL: I agree. I don’t know how old he was when he died…
TP: He was born in 1903. He was close to 90.
HALL: I remember when he had the Blue Angel uptown.
TP: And he had it for 20 years. He got it when the Vanguard was already ten years old. Billy Taylor, Jimmy Heath and Roy Haynes all were here before you.
HALL: Yeah. I visited with Chico Hamilton and played at Basin Street East, but I finally moved here around 1960.
TP: The clubs I can ask you about would be the Five Spot, the Bohemia…
HALL: I played the Bohemia with Jim Giuffre and Bob Brookmeyer, and we played opposite Miles’ sextet.
TP: So it was a trip to New York before you moved.
TP: I can ask you about the Bohemia, the Five Spot, the Half Note, and Bradley’s.
HALL: The place where I first worked with Sonny Rollins was owned by the Termini Brothers – the Jazz Gallery.
TP: Let’s start with your first trip to New York with Chico Hamilton and Basin Street, and the Bohemia. What was Basin Street like? Do you recall the layout of the room or the ambiance?
HALL: It was my first trip to New York as a musician, and the whole thing was kind of overwhelming. It was Chico’s quintet, and I think Jerome Richardson played with us instead of Buddy Collette, because Buddy was doing the Groucho Marx television show or something. We played opposite Max Roach with Sonny Rollins and Clifford Brown, Richie Powell and George Morrow. As I remember, it was laid out like a big board meeting room or something, and there was a bar and lots of tables. All kinds of people came in. One time I looked up, and Richie Powell was sitting there with his brother, Bud Powell. Erroll Garner came in. Sammy Davis, Jr., came in and sat in on drums one night! I don’t know how long the place lasted, though.
When I was with Jimmy Giuffre… Later on he was managed by Norman Granz. But there was a guy doing the booking whose name I can’t remember, but he also managed Mort Sahl, and Mort had a show on Broadway for about three weeks called The Next President. Jimmy, Bob and I played there with Mort Sahl, and then we’d go down to the Bohemia and worked there, too.
TP: What was the Bohemia like? It was a big room on Barrow Street?
HALL: Exactly. It looked like a high school auditorium. I remember there were lots of tables set up, and the bandstand was kind of raised in the back, like an auditorium, kind of. As I said, we worked opposite Miles’ great group with Bill Evans.
TP: What was the atmosphere like, the clientele? I guess it was a lot different than Basin Street. Maybe not.
HALL: This was all so new to me… I remember Stan Getz came in one night, and down in the dressing room he was trying out one of John Coltrane’s horns, and I played a couple of tunes with Stan. Another time I remember Neshui and Ahmet Ertegun came in with Queen somebody… Her husband was King Hussein of Jordan, I think, and he had fired her because they couldn’t have kids together. So the Ertegun brothers came in with her, and I was sitting with Charlie Persip. Charlie was working with Art Farmer someplace, and he came in to hear Miles’ band. I said to Charlie, “You see that beautiful lady? That’s Queen Saroya (I think) of Jordan.” Charlie said, “No shit?”
Anyway, it was great working opposite Miles and…
TP: Was the place full all the time? I get the feeling reading about it that it was a very popular room, and all the cats would go down there to hear.
HALL: Probably. It was hard to have a perspective. First of all, I did the show with Mort Sahl. David Allyn sang on Mort’s show, too. The club didn’t have the coziness of the Vanguard, certainly, or the magic, I think. It was more like a theater, I felt. So was the Jazz Gallery, a bit. They had an interesting background at the Gallery, though, with moving lights or something behind us.
TP: Did you also play the Five Spot?
HALL: Yes. I remember it being crowded all the time, and very… I was staying at the Van Rensselaer Hotel in the Village at the time, and I worked opposite Ornette Coleman’s group there once with Jimmy. It was Ornette and Charlie Haden and either Ed Blackwell or Billy Higgins, probably Billy. That was a thrill. I also remember hearing George Russell play with a ten-piece group or so there. I remember the Five Spot as being small and kind of dark, and it seemed like the epitome of hipness, sort of. Thelonious Monk came in one night. Then Leonard Bernstein came in; that was the time he jumped up on the stage and kissed Ornette or something. Cecil Taylor would sometimes come in late at night. He and Buell Neidlinger were buddies, I think, and Cecil would play sometimes after work, or…
TP: Sit in after the last set?
HALL: Yeah. It just seemed like an extremely hip place, that’s all.
TP: The epitome of hipness is a nice phrase. What do you remember about Ornette being there? That’s an engagement that sort of rocked the world.
HALL: I guess. I had known Ornette in California. Actually, he was doing a date with Red Mitchell and Shelley Manne and Don Cherry. Red was a close friend, and he invited me to the record date. When I got there, I was in the control booth, and Red was sitting in the control booth, and they were playing without him. Red was very controlling, and he kept asking Ornette, “Well, how many measures before this? How many bars?” Ornette would say, “Just trust me.” So Red got frustrated, and he bailed. He was sitting in the control booth for a while. But I loved Ornette’s playing right away. I’d gone to a conservatory of music, and I heard Bartok and Hindemith and Schoenberg and all those people, so it didn’t surprise me. But I loved his playing right from the start. But it was great being around Ornette when he was kind of breaking ground.
Then John Lewis had Ornette and Don both up at the School of Jazz at Lenox…
TP: Oh, I forgot that you were on Jazz Abstractions.
HALL: Right. And John would bring in ringers to go to this music school. It was every summer for two or three weeks, I think, at the end of the summer up at Lenox. He got Don Cherry and Ornette there as students, and Attila Zoller was there as a student, Gary McFarland… It was kind of a rich period. But obviously, you don’t realize it when you’re living it.
TP: Of course not. What were the Termini Brothers like?
HALL: They were great.
TP: Soulful guys?
HALL: Yeah, they were just nice guys. When I was a kid, all the club owners were these guys with the broken nose and cigars and stuff, and the Termini Brothers seemed like they would have been good neighbors or they could run a grocery store, or something like that. Really nice.
TP: And you played with Sonny at the Jazz Gallery.
HALL: I did. It was on St. Marks Place just east of the Bowery.
TP: I know you played at the Half Note quite a bit.
TP: It seems that all the musicians enjoyed playing there.
HALL: It was really relaxed, and the Canterinos, Mike and Sonny, they were great. The bar made a sort of oval around the bandstand, and they had this great guy, Al the waiter, who wore this tuxedo all the time, and he would kind of drag his feet when he walked, and he would call out orders. It’s probably on some records. He’d say, “Son-ny!!” when he wanted beers or something.
TP: Is he the guy who would always light people’s cigarettes?
HALL: Yes. We called him “the torch” sometimes.
TP: Back when you got to town, all the clubs went to 4 a.m., right? Three sets, 2 a.m. last set?
HALL: Yeah. When I worked at the Five Spot, they had this Budweiser clock right above the bandstand that would kind of circle around slowly, and I’d look at the clock and it would say 20 of 3, and I’d play about an hour, we’d play an hour, and I’d look up and it would say 15 minutes to 3! I think it went to 4. You played long.
TP: And the Half Note was isolated, so it had to be a destination.
HALL: That’s right. It wasn’t in the heart of things at all.
TP: It seems the mid ‘60s is when a lot of the small piano rooms downtown cropped up. But Bradley’s, the Knickerbocker, Village Corner.
HALL: I wasn’t a regular at Bradley’s, but I did hear a lot of… I heard Jimmy Rowles there with Red Mitchell, and stuff like that. The Knickerbocker somehow seemed not as important to me. Bradley’s was a fun hangout, and I liked Bradley, and I got to know Sam Jones really well there. In fact, when Sam was dying… Sam was a big fan of boxing, so anything having to do with boxing, I cut it out of the newspaper and would mail it to him.
TP: In the ‘60s and ‘70s, were there other places you’d wind up trying to get to?
HALL: Just to hear music? On the one hand, I loved Zoot Sims and Al Cohn, and they were at the Half Note a lot. The Half Note moved uptown or to midtown for a while, but it didn’t seem to gel. I played there with Paul Desmond, Ben Riley and Ron Carter, and we played opposite the Bill Evans Trio there. I remember the Cantorino brothers and the old man wearing tuxedos. They were all dressed up. That seemed kind of weird to me.
TP: How did the clubs in New York differ from the clubs in L.A. and Cleveland?
HALL: I’m not sure. In Cleveland there was a club called Lindsay’s Sky Bar that was very hip. I heard everybody there. It was a bit like the Vanguard. It was small and dark, and I heard Charlie Parker there. I heard Art Tatum. I heard Red Norvo with Tal Farlow; that’s where I heard Tal. I heard Stuff Smith; that was great. That was a very hip club. There were a couple of them in Cleveland. Later I heard Charlie Parker with Miles Davis and Max Roach at a different club. So there was stuff to hear.
But for some reason, my brain always goes to the Vanguard. The sinkhole! I mean that in a good way. You go down there, and you’re in an environment. After I spoke with you the first time, I made a list of all the people I had heard there and stuff. I lost part of it. But Jesus, I remember hearing Jack Teagarden there, and Slam Stewart was playing with him. I heard Ben Webster there. When Giuffre was playing at the Bohemia, Ben Webster was at the Vanguard, and I went over before I knew him. Oh, and I think I worked opposite Mike Nichols and Elaine May. Irwin Corey was there a lot, and I remember hearing Lenny Bruce there. I think Mort Sahl, but I’m not sure. I heard Wes Montgomery there with Paul Chambers and Wynton Kelly, I think. And I worked in a duet with Miles’ group with Wynton and Jimmy Cobb and Paul and Hank Mobley.
TP: So you’ve been working at the Vanguard for almost fifty years.
HALL: Seems like it!
TP: Has it changed? New sound system, they removed a post…
HALL: I’ll have to check with Jed about this, or maybe you could, but there was a Japanese company that came in, and they wanted to get the sound of the Village Vanguard somehow, and they measured it from top to bottom, everything, and then as a payoff they gave them a new sound system. So that changed the whole thing! It cracked me up.
TP: For better or worse?
HALL: I really don’t know. I’ve just always enjoyed playing there somehow.
TP: What does it? Is it the spirit? The sound?
HALL: The sound is good. It’s mostly just the ambiance, all the pictures on the wall. So many memories. And Max Gordon sitting in the back there. And that kitchen is… Talk about magic meeting. One time, on Paul Desmond’s birthday, my daughter cooked something for his birthday, and afterwards my wife and I and Paul went to the Vanguard. Thelonious Monk was working there before his son. I think Thelonious was not doing too well then. It’s the only time I’ve ever had a conversation with Monk, was with Paul Desmond and Thelonious.
TP: And you’ve continued to play there steadily since ‘57 or ‘58.
HALL: Right. I remember hearing Joe Lovano with Bill Frisell and Motian there. That almost got me in a fight with Stanley Crouch later on. He put them down… I saw Stanley and Wynton Marsalis on Charlie Rose, and Stanley was pontificating, and they started putting down Miles Davis by his later bands. Stanley said, “I could tell he was going out by the way he was dressing?” I thought, “Shit, what about Duke Ellington?” That really infuriated me, and I thought especially Wynton to say anything negative about Miles, and Miles opened so many doors for people… I always thought Miles could play silence better than most people could play notes. So I went in to hear the trio with Lovano and Bill Frisell and Paul Motian, and I was knocked out. I came outside, and Stanley was outside. He said , “Oh, Jim Hall, down there listening to that junior music, huh.” So that got me bugged, and I started arguing with him. P.S., Stanley called me the next day to have lunch after we had a shout-out!
TP: Are clubs different now than they were when you first hit New York? Are the audiences different? The general run of clubowners… But you don’t play that many other clubs.
HALL: The Blue Note sometimes, and the new Birdland. Somehow the Vanguard… Maybe it’s because it’s underground. But somehow it seems like home to me.
TP: There’s something about it that is jazz, nothing but jazz…
HALL: Exactly. I was working there once with Don Thompson and either Elliott Zigmund, or maybe Ben Riley, a trio, and some guy came down the stairs and robbed Cliff Lauder at the door with a gun while we were playing “Body and Soul” or something.
TP: But the Vanguard has stayed the same pretty much.
HALL: It really has.
TP: It’s so rare in 2004-05 to have anything similar to what it was 20 years ago, even 50 years ago.
HALL: Part of me likes to move forward and not live in the past, but nevertheless, the Vanguard has so much poignancy and nostalgia. Did I tell you about Lorraine Gordon and Henry Kissinger? Jed told me that Havel was there, and a few minutes into the set Henry Kissinger came down the stairs and Lorraine wouldn’t let him in! She said, “You can’t come in; the set’s already started.”
TP: I think eventually she let him in, but made him pay.
HALL: She said, “Okay, that will be thirty dollars.”
TP: Who are you going to play with on your night?
HALL: I’m not sure yet. I might just do it as a duo. Maybe Henry Kissinger will come in and make a speech. He says, “Perhaps you don’t know who I am.” She said,”Oh, I know all about you; that’s part of the problem.” You’ve got to love that, no matter what kind of pain in the ass she is.