judge (who passed away in February, 1987). . . CSQ: Do you think a young person today would have the same opportunity that you had? Youbasically made your own career, starting from scratch. MG: Well, it’s not so easy to get in the business now. I just walked right into it. I didn’t have any experience. I didn’t have any money. I just took my chances. I took the risks. After Prohibition I didn’t have a liquor license. I didn’t have any money to get it so I let people bring their own. I ran that way for a long time. CSQ: la the 1950s, besides suffering economically due to the growth of rock and roll, jazz was identified as the music of black nationalism. The Vanguard lived through that period. Was it viewed as a cultural oasis, or were there confrontations between black and white musicians or fans? MG: No, we always allowed everybody here, no d isc r im ina t ion . We never thought of it in that way. If you’re going to have black musicians, you’re going to have black audiences. Even when we opened our uptown place, you know, where blacks were not really very welcome, we allowed black people to come to hear black entertainers. In those days, the upper East Side (clubs) didn’t employ any black musicians and they certainly wouldn’t welcome black customers but we did. CSQ: So you contributed to the Civil Rights movement through presenting intelligent black music. . . MG: Yeah. CSQ: Is there anything you’d like to say, particularly as pertains to Portland, to the folks from way back when? MG: Well, Portland’s a good town, but I didn’t have anything to do there. I didn’t have a job. I couldn’t find a job. I did social work at the B’nai B’ rith, but I wasn’t able to keep that job. Iwas pushed out by certain people. I came to New York to go to school originally, but I knew I was going to live here. And that’s what I did. CSQ: At the end of the book, there’s a conversation between you and a longtime patron in here who asks you what you would have done differently. And you somewhat avoid the question. . . MG: I don’t know. I don’t have no regrets that eat at me, you know. I don’t know what I would have done. What could I have done? Make more money? Or give me more fame? I don’t know. I don’t think in those terms. I did pretty good. Gordonsat at a table in the back of the darkened room, smoking a cigar, a deep red curtain and photos of various jazz greats on thewall behind him. At 83, heappearsstooped and physically frail, but little happening in the club escapes his attention for long. Rick Mitchell, a frequent CSQ contributor, bandleader (Le Bon), sports and music writer and high-flying basketball player, moved to L.A. earlier this year. The Big Blue Victorian A Charming Inn, in the Bed & Breakfast Tradition Private Baths Color T.V. 208 N. Holladay Dr. $ Seaside, OR (503) 738-9055 MW 125NW6TH © L D T O W N LIVEMUSICSEVEN DAYSAWEEK 243-2380 Breitenbush Retreat Center at Breitenbush Hot Springs Dates Workshop or Seminar Presenters Price Dec 26 - Jan 3 New Year's Ski Week $40/day Jan. 8-10, Personal Retreat & Recreation $70 15-17, 22-24 Weekends 15-17 Reiki 1 Phil Morgan 28-31 Clinical Kinesiology J.J. Bond 29-31 Cross-Country Ski Weekend $75 Feb. 5-7 Hatha Yoga &Healing Retreat Shoshonah Thielle $110 5-7 Permaculture Institute 19-21 Mind & Heart as Healer Dr. Raymond Diaz $140 19-21 Follow Your Heart Melanie & Jack Crocker $150 26-28 Cross-Country SkiWeekend $75 Mar. 4-9 Vipassana Meditation Retreat Jamie Baraz $30/day 11-13 Turning Points Thomas & Tamara Fisher $195 11-13 Oregon School of Massage 18-23 Contact Improv Jam II Joint Forces Dance Co. 23-25 Contact Improv Jam Teachers Karen &Alito Nelson 22-27 Nourishing the Whole Person Breitenbush Retreat Center P.O. Box 578, Detroit, OR 97342 (503) 854-3501, 854-3314 Reservations necessary. Office hours are 9-1 & 2-6 daily. Carry traction tires or chains; call for latest road conditions. 42 Clinton St. Quarterly—Winter, 1987
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