More stories

  • in

    Henry Goldrich, Gear Guru to Rock Stars, Is Dead at 88

    AdvertisementContinue reading the main storySupported byContinue reading the main storyHenry Goldrich, Gear Guru to Rock Stars, Is Dead at 88The owner of Manny’s Music in Manhattan, he brought wah-wah to Hendrix and Clapton and connected musicians with equipment that helped define their styles.Henry Goldrich in an undated photo in front of his store, Manny’s Music, which until it closed in 2009 was the largest and best-known of the cluster of music shops on West 48th Street in Manhattan.Credit…via Ian GoldrichMarch 4, 2021, 6:29 p.m. ETWhen asked about his musical ability, Henry Goldrich would often demur, “I play cash register.”His stage was Manny’s Music in Manhattan, where Mr. Goldrich, the longtime owner, supplied equipment to a generation of rock stars. But even though he sold instead of strummed, Mr. Goldrich secured an important role in rock by connecting famous musicians with cutting-edge equipment.“To these guys, Henry was the superstar,” his son Judd said. “He was the first guy to get gear they had never seen before.”Mr. Goldrich died on Feb. 16 at his home in Boca Raton, Fla. He was 88.His death was confirmed by his other son, Ian, who said he had been in frail but stable health.Manny’s, which closed in 2009 after 74 years in business, was long the largest and best-known of the cluster of music shops on the West 48th Street block known as Music Row.It was opened in 1935 by Mr. Goldrich’s father, Manny, and it was a second home for Henry since his infancy, when the shop’s clientele of swing stars doted on him. Ella Fitzgerald would babysit for him in the shop when his parents went out for lunch, Ian Goldrich said.By 1968, when his father died at 62, Henry Goldrich had largely taken over operations and had turned the shop into an equipment mecca and hangout for world-renowned artists.He did this by expanding its inventory of the latest gear and by solidifying connections with suppliers that helped him consistently stock high-level instruments and new products.Mr. Goldrich sold guitars to Jimi Hendrix, Eric Clapton, Pete Townshend and many others. He was not happy about Mr. Townshend’s penchant for smashing them.Credit…Chester Higgins Jr./The New York TimesAt a time before rock stars were lavished with the latest equipment straight from the manufacturers, Manny’s was favored by top musicians searching for new gear and testing out new equipment.These included two guitar gods of the 1960s, Jimi Hendrix and Eric Clapton — to whom, Ian Goldrich said, his father recommended the wah-wah pedal, an electronic device that immediately became a staple of both musicians’ approaches. He added that Hendrix would buy scores of guitars on credit and have Mr. Goldrich fine-tune them to the guitarist’s demanding preferences.Many rock and pop classics were either played or written on instruments sold by Mr. Goldrich.John Sebastian, founder of the Lovin’ Spoonful, recalled in an interview how Mr. Goldrich in the mid-1960s helped him select the Gibson J-45 he used on early Spoonful recordings like “Do You Believe in Magic?”Mr. Goldrich similarly matched James Taylor with a quality Martin acoustic guitar early in his career, his son Ian said. And Sting used the Fender Stratocaster Mr. Goldrich sold him to compose “Message in a Bottle” and many other hits for the Police before donating it to the Smithsonian Institution.The photos on the Manny’s Wall of Fame constituted a Who’s Who of popular music. Credit…Chester Higgins Jr./The New York TimesIn 1970, he sold the Pink Floyd guitarist David Gilmour the 1969 black Stratocaster he played on many of the band’s seminal recordings. It sold at auction in 2019 for a record $3,975,000.Pete Townshend of the Who would order expensive electric guitars by the dozens from Mr. Goldrich, who was not happy when he heard about the guitarist’s penchant for destroying his instrument onstage for theatrical effect.“It was good business,” Ian Goldrich said, “but my father was annoyed that Pete was breaking all the guitars he was selling him.”Unlike many of his flamboyant rock-star customers, Mr. Goodrich always dressed conventionally in a sport coat and kept a blunt demeanor that put his customers at ease.“He had a gruff personality; he treated them all the same,” Ian Goldrich said. “He’d tell Bob Dylan, ‘Sit in the back and I’ll be with you in a minute.’”There was the day in 1985 — it was Black Friday, and the store was packed — that Mick Jagger and David Bowie stopped by together, creating a commotion that halted sales. An annoyed Mr. Goldrich quickly sold them their items and rushed them out.“My father was like, ‘What are you guys doing here today?’” Ian recalled. “He didn’t throw them out, but he was not happy.”When the band Guns N’ Roses asked to shoot part of the video for their 1989 hit “Paradise City” in the store, Ian Goldrich recalled, his father agreed only reluctantly, saying, “OK, but we’re not shutting down for them.”Ever opinionated, Mr. Goldrich told Harry Chapin in 1972 that his new song “Taxi,” at nearly seven minutes, was too lengthy to be a hit. (It reached the Top 40 and is now considered a classic.) And he told Paul Simon, who as a boy had bought his first guitar at Manny’s, that he thought Simon and Garfunkel was a “lousy name” for a group.But he also advised new stars in a fatherly way not to squander their newfound wealth.“He’d take them aside and say, ‘You’re making money now — how are you going to take care of it?’” Ian Goldrich said.From left, the singer Richie Havens, the singer and radio host Oscar Brand and Mr. Goldrich at a celebration of Manny’s Music’s 50th anniversary at the Rainbow Grill in 1985.Credit…Marilyn K. Yee/The New York TimesHenry Jerome Goldrich was born on May 15, 1932, to Manny and Julia Goldrich, and grew up in Brooklyn and in Hewlett on Long Island. After graduating from Adelphi College, he served in the Army in Korea in the mid-1950s and then went to work full time at Manny’s.His father opened the store on West 48th Street, a location he chose because it was close to the Broadway theaters and the 52nd Street jazz clubs, as well as numerous recording studios and the Brill Building, a hub for music publishers. In 1999, Mr. Goldrich sold Manny’s to Sam Ash Music, a rival store, which largely retained the staff until Manny’s closed in 2009.In addition to his sons, Mr. Goldrich is survived by his wife, Judi; his daughter, Holly Goldrich; seven grandchildren; and a great-granddaughter.Mr. Goldrich often used his celebrity clientele to market the store. “He recognized value of these people being in the store and it made the business, certainly,” his son Judd said.When a young Eric Clapton, then with the group Cream, was stuck in New York without the money to fly home to England, he offered his amplifiers to Mr. Goldrich to raise funds.“He said, ‘I’ll buy them from you as long as you stencil them with the Cream logo,” Ian said.Then there was the store’s Wall of Fame, thousands of autographed publicity photos of famous customers that constituted a Who’s Who of popular music. Mr. Goldrich helped cultivate the photos, many of which were inscribed to him, and often kept his staff from stacking merchandise in front of them.Mr. Taylor, in a video interview, described being mesmerized by the photos as a teenager and being proud when his own was added. “It was sort of an inside thing, not as celebrated as a Grammy or a gold record or a position on the charts,” he said. “But definitely you had arrived if you were included on that wall.”Mr. Goldrich became close friends with many musicians, including the Who’s bassist, John Entwistle, who attended Judd’s bar mitzvah in New Jersey and hosted the Goldrich family at his Gothic mansion in England. Ian remembered the band’s drummer, Keith Moon, sitting on his father’s lap while drinking cognac at a screening of the film “Tommy.”In a video interview, Mr. Goldrich described selling the violinist Itzhak Perlman an electric violin. When Mr. Perlman tried bargaining, Mr. Goldrich parried by asking if he ever reduced his performance fee.“He said, ‘It’s different, I’m a talent,’” Mr. Goldrich recalled. “I said, ‘I’m a talent in my own way, too.’”That talent was palpable to Mr. Sebastian when he asked Mr. Goldrich to allow him to test out his stock of Gibson acoustic guitars in a merchandise room.“Henry’s famously prickly demeanor receded slightly,” Mr. Sebastian recalled, and he agreed to open early the next morning to allow him in.“He knew exactly what I wanted,” he said. “And I’ll be damned if I didn’t catch Henry smiling as he made out the bill.”AdvertisementContinue reading the main story More

  • in

    Jazz at Lincoln Center Focuses on Music’s Role in Social Justice

    #masthead-section-label, #masthead-bar-one { display: none }At HomeExplore: A Cubist CollageFollow: Cooking AdviceVisit: Famous Old HomesLearn: About the VaccineAdvertisementContinue reading the main storySupported byContinue reading the main storyJazz at Lincoln Center Focuses on Music’s Role in Social JusticeA new season of video concerts will feature a tribute to renowned jazz vocalists and include new compositions created in collaboration with Bryan Stevenson.This season, the Jazz at Lincoln Center Orchestra, led by Wynton Marsalis, will feature programs like “Freedom, Justice and Hope” and a concert focusing on John Coltrane.Credit…Vincent Tullo for The New York TimesFeb. 2, 2021With in-person concerts unlikely to return this spring, Jazz at Lincoln Center on Tuesday announced a full season of video presentations, all centered on jazz’s role in the fight for social justice.The spring programming will feature four shows, each one streaming on the center’s website for $20 a ticket. (Prices are lower for members and subscribers.) Each show will remain available for streaming over a period of days.The first concert, “Legacies of Excellence,” will premiere on Feb. 20. Featuring the vocalist Catherine Russell, it explores the contributions of jazz legends through an educational lens, and is presented as part of an initiative called Let Freedom Swing.For the remaining three shows, guests will join the Jazz at Lincoln Center Orchestra, led by Wynton Marsalis. On March 26, the ensemble will present “Voices of Freedom,” a celebration of four eminent 20th-century jazz singers: Betty Carter, Billie Holiday, Abbey Lincoln and Nina Simone. A lineup of contemporary vocalists, including Melanie Charles and Shenel Johns, will offer renditions of these figures’ famous works.The orchestra returns on May 21 with “Freedom, Justice, and Hope,” a program featuring new compositions by two rising musicians: the bassist Endea Owens, who will debut a suite honoring the pioneering Black journalist Ida B. Wells; and the trumpeter Josh Evans, who will present a work in response to the 1919 Elaine massacre in Arkansas. The compositions were written in collaboration with the racial-justice activist Bryan Stevenson, who will participate in the concert.The season concludes with a show on June 10 devoted to the music of John Coltrane, including a big-band rendition of his landmark “A Love Supreme.”AdvertisementContinue reading the main story More

  • in

    Piano Bars and Jazz Clubs Reopen, Calling Live Music ‘Incidental’

    #masthead-section-label, #masthead-bar-one { display: none }The Best of 2020Best MoviesBest TV ShowsBest BooksBest TheaterBest AlbumsAdvertisementContinue reading the main storySupported byContinue reading the main storyPiano Bars and Jazz Clubs Reopen, Calling Live Music ‘Incidental’As the coronavirus continues to spread, Marie’s Crisis Cafe became the latest Manhattan music venue to reopen, claiming that it is not a performance venue.Despite the worsening pandemic, Marie’s Crisis Cafe, a West Village piano bar, reopened with a singalong this week. Like other venues, it says its music is “incidental,” and therefore allowed.Credit…Nina Westervelt for The New York TimesSarah Bahr and Dec. 11, 2020, 5:00 a.m. ETAlthough most indoor live performances have been banned in New York since the coronavirus began its deadly spread in March, about a dozen people turned up Wednesday night at Birdland, the jazz club near Times Square, for a 7 p.m. performance that was billed as dinner with live jazz. They had reservations.Among them was Tricia Tait, 63, of Manhattan, who came for the band, led by the tuba player David Ostwald, which plays the music of Louis Armstrong. Until the pandemic hit, it had performed on most Wednesdays at Birdland. She admitted to health worries “in the back of my mind,” but said, “Sometimes you just have to take a chance and enjoy things.”While the number of daily new coronavirus cases in New York City has been climbing to levels not seen since April, in-person learning has been suspended at public middle schools and high schools, and Gov. Andrew M. Cuomo warned this week that indoor dining in the city could soon be banned, Birdland and a number of other noted jazz clubs and piano bars across the city have been quietly offering live performances again, arguing that the music they are presenting is “incidental,” and therefore permitted by the pandemic-era guidelines set by the State Liquor Authority.Those guidelines state that “only incidental music is permissible at this time” and that “advertised and/or ticketed shows are not permissible.” They continue: “Music should be incidental to the dining experience and not the draw itself.”That has not prevented a number of New York venues that are better known for their performances than their cuisine — including Birdland, the Blue Note and Marie’s Crisis Cafe, a West Village piano bar that reopened Monday with a show tune singalong after declaring itself a dining establishment — from offering live music again.“We think it’s incidental,” Ryan Paternite, the director of programming and media at Birdland, said of its calendar of performances that include a brass band and a jazz quartet. “It’s background music. That’s the rule.”The rules have been challenged in court. After Michael Hund, a Buffalo guitarist, filed a lawsuit in August challenging them, a judge in the U.S. District Court in the Western District of New York issued a preliminary injunction last month preventing the state from enforcing its ban on advertised and ticketed shows. “The incidental-music rule prohibits one kind of live music and permits another,” the judge, John L. Sinatra Jr., wrote in his Nov. 13 decision. “This distinction is arbitrary.”The state is appealing the ruling.“The science is clear that mass gatherings can easily turn into superspreader events, and it is unconscionable that businesses would attempt to undermine proven public health rules like this as infections, hospitalizations and deaths continue to rise,” William Crowley, a spokesman for the liquor authority, said Thursday. He noted that a federal judge in New York City had ruled in another case that the restrictions were constitutional. He said that the state would “continue to vigorously defend our ability to fight this pandemic whenever it is challenged.”But it is unclear what, exactly, “incidental” music means. Does that mean a guitar player in the corner? A six-person jazz band like the one that played at Birdland on Wednesday night? The Harlem Gospel Choir, which is set to perform at the Blue Note on Christmas Day? Mr. Crowley did not respond to questions seeking further clarity on Thursday, or about what enforcement actions the state has taken.Customers at Marie’s Crisis Cafe.Credit…Nina Westervelt for The New York TimesRobert Bookman, a lawyer who represents a number of New York’s live music venues, said venues interpreted the ruling as allowing them to advertise and sell tickets for incidental music performances during dinner.So venues have chosen their words carefully. They are taking dinner reservations, and are announcing calendars of lineups for what Mr. Paternite, of Birdland, characterizes as “background music during dinner.” Unlike Mac’s Public House, the Staten Island bar that declared itself an autonomous zone and was recently lampooned on “Saturday Night Live,” they have no interest in openly flouting regulations.Mr. Paternite said that Birdland, after laying off nearly all of its 60 employees in March, is now back to what he calls a “skeleton staff” of about 10 people.“It’s a huge risk for us to be open,” he said. “And it only brings in a pittance. But it helps us out in our agreement with our landlord, because to pay our rent over time and stay current on our utilities and taxes, we need to stay open. But we’re losing massive amounts every day.”If venues don’t reopen now, he fears, they may never do so. The Jazz Standard, a beloved 130-seat club on East 27th Street in Manhattan, announced last week that it would close permanently because of the pandemic. Arlene’s Grocery, a Lower East Side club that hosted the Strokes before they became well known, said it was “on life support” and, without aid, would have to close on Feb. 1.Randy Taylor, the bartender and manager at Marie’s Crisis Cafe, said the last time the piano bar had served food was probably back in the 1970s — or perhaps earlier. “There’s a very old kitchen that’s totally disconnected upstairs,” he said. Its dining options are extremely limited: It currently offers $4 bowls of chips and salsa. “We are required to sell them,” he said. “We can’t just give them away.”Steven Bensusan, the president of Blue Note Entertainment Group, said that he hopes the state does not move to shut down indoor dining.“I know cases are spiking,” he said. “But we’re doing our best to keep people safe, and I hope we can continue to stay open. We’re not going to be profitable, but we have the ability to give some people work who’ve been with us for a long time.”The clubs said that they were taking precautions. At the Blue Note, which reopened Nov. 27, the formerly shared tables are now six feet apart and separated by plexiglass barriers, and its two nightly dinner seatings are each capped at 25 percent capacity, or about 50 people. At Marie’s Crisis Cafe, where the masked pianist Alexander Barylski was ensconced behind clear shielding on Wednesday night as he led a jubilant group chorus of “Frosty the Snowman,” Mr. Taylor said that tables were separated by plastic barriers, and that the venue conducted temperature checks and collected contact tracing information at the door.Daniel Wiseman, left, and Rindi Klarberg are greeted by Moni Penda, right, at Birdland, a noted jazz club that now calls its live music “incidental.” Credit…Nina Westervelt for The New York TimesMarie’s Crisis Cafe had been livestreaming shows on Instagram and its Facebook group page, but Mr. Taylor said it wasn’t the same. On Wednesday night, 10 customers belted out holiday tunes through masks, some sipping their first drinks at a venue since March.“There have been some tears,” Mr. Taylor said. “People really, really missed us. We can’t see their smiles through their masks, but their eyes say it all.”AdvertisementContinue reading the main story More