BB King’s of Times Square closed its doors recently and
another concert venue bit the dust.
There was once a string of such clubs from New York City to
San Francisco where a band could hang its hat – most, alas, now mere memories.
Just as important, pubs that acted as minor league venues
for these clubs dotted the country. Nowhere boasted as many of these musical
saloons as The Bronx.
What was it about “the only borough on the mainland” that
made it stand out musically from Brooklyn, Queens, Manhattan, and Staten Island?
Well, for starters, Bronxites expected live music with their
booze. This could range from a solitary box player to a full fledged Irish
showband or Latino orchestra, dolled up to the nines and shaking the very
rafters with their rhythm and brass sections.
I have to confess that my various landlords in the East
Village would have had even less hair for the pulling if a number of disparate
Bronx pub owners hadn’t thrown me a gig from time to time.
Chief among them were Phil Delaney from Carrick-on-Suir who
operated Durty Nelly’s on Kingsbridge, Tom Brogan and his bon vivant manager Sean
Lynch of The Archway, and the mighty John Flynn of The Village Pub.
Ah, I can sense that eyes are misting up in Woodlawn, Pearl
River, and all other points of the compass at the memories these revered names
are conjuring.
It’s amazing there are any memories at all, for the sheer rate
of drinking in each of these establishments seems staggering in retrospect.
Back in the years I’m referencing, the 70’s and 80’s, many
of us were undocumented (don’t tell Mr. Trump), rents were cheap as was booze, the
craic was mighty, and there was a flirtatious sparkle in many the eye.
Allow me to dwell on The Village, as it was fondly known. I’m
afraid I have trouble describing this hallowed establishment since I never
darkened its door in daylight – I did spend dawn-lit morning there but who was
observing décor then?
However, as best I can recall, it was small, woody, full to
the gills, throbbing with music, and conversation often peppered with first
class slagging.
.
It was also very dark; on my first visit, while lugging in
an amplifier, I tripped over a customer who was taking a nap on the carpeted floor.
Upon offering my bruised apologies his friends informed me
there was no problem - Paddy often lay there to regroup out of harm’s way after
the long day on the site and the prospect of a night’s dancing ahead in the
Archway.
Unlike many Bronx establishments you were not required to
play any particular type of music, still John Flynn expected it to be top shelf.
I would go so far as to say that John was mainly responsible
for the nurturing of original music in the Irish Bronx, for he demanded that at
some point in the evening musicians stretch beyond their usual repertoire and
highlight their chops to the best of their abilities.
With many of our Northern brethren present there was little
love for the British Army, and a radical anarchistic Republicanism reigned.
I’ve always found such circumstances conducive to
experimentation, for it’s far easier put an original spin on Sean South of
Garyowen than Cracklin’ Rosie.
“Nice girls did not go The Village,” a somewhat matronly
lady informed me recently. I was forced to disagree, for ‘twas there I met
Morningstar. Mary Courtney, Margie Mulvihill, and Carmel Johnston were not only
crack musicians but unfailingly friendly and ladylike, which was saying
something given the state of many of us.
The music ranged from Jazz to Trad – with many detours in
between - and I can visualize a legion of players not limited to Paddy Higgins,
Eileen Ivers, Gabriel Donohue, Chris Byrne, Joanie Madden, Pierce Turner,
Robbie Furlong, Morningstar et al, jamming late into the night.
It was a passionate place, and there were disagreements
aplenty, many a heart was broken, but many a match also made in this small heaven.
I often think of The Village for it left a decided mark on
me. I hope all the friends I made there are thriving. What nights – and early
mornings – we had!
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