ich finde auf die Schnelle keinnen wirklich passenden Faden … James Gavin schreibt für JazzTimes über das Slug’s:
Slugs’ Saloon was the ultimate jazz dive: bare brick walls; hanging globe light fixtures that barely lit up the dark; pushers hovering near the men’s room; sawdust, mixed with peanut shells, on the floor. “If someone threw up you’d just cover it up,” says saxophonist Gary Bartz, who played there often. A bar ran along the left; beat-up tables and chairs filled out the room. Slugs’ was crowded with jazzmen and hardcore fans, who focused on a stage in the back.
The jazz at Slugs’ was seldom pretty or commercial. One heard a crossfire of searching, progressive sounds from the likes of Jackie McLean, Charles Mingus, Freddie Hubbard, Wayne Shorter, Herbie Hancock, Keith Jarrett, Roy Haynes, Kenny Dorham and Yusef Lateef. The most important avant-gardists—Archie Shepp, Ornette Coleman, Albert Ayler—found a home there too. The music, which went until 4 a.m., “was like fire burning,” remembers drummer Barry Altschul. “Everybody who played there was happening.”
But for many, the club’s eight-year history boils down to that notorious moment on Feb. 19, 1972, when Lee Morgan, the most exciting young trumpeter in jazz, was shot dead there by his spurned girlfriend and manager. His murder turned Slugs’ into one of the defining postscripts to the turbulent ’60s. It remains a symbol of jazz at its most down-and-dirty—a place where raw talent, life on the edge and the ecstasy of the music coalesced to create many sparks, then a fatal explosion.
https://jazztimes.com/features/profiles/inside-slugs-saloon-jazzs-most-notorious-nightclub/
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #158 – Piano Jazz 2024 - 19.12.2024 – 20:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba