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Goodbye, Cecil's

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In the hallway around the corner from the bandstand at Cecil's Jazz Club, hangs a poster for Slugs' Saloon. Through most of the 1960s, until its end in 1972, Slugs' was one of the most important jazz clubs in New York City. Unlike many of the upscale establishments that appeared in its wake, it was a small dive bar (complete with sawdust on the floor), which didn't deign to serve food. Management routinely admitted minors who weren't accompanied by adults. A trip to the men's room meant the possibility of a contact high from second hand smoke.

Off the beaten path in a neighborhood often referred to as "alphabet land," Slugs' was a great place to catch some of the music's significant figures in an unceremonious atmosphere. The booking policy mixed mainstream jazz and the avant-garde. Sun Ra
Sun Ra
Sun Ra
1914 - 1993
keyboard
and his Arkestra regularly held court on Monday nights. Cecil Taylor
Cecil Taylor
Cecil Taylor
b.1929
piano
, Albert Ayler
Albert Ayler
Albert Ayler
1936 - 1970
sax, tenor
, Ornette Coleman
Ornette Coleman
Ornette Coleman
b.1930
sax, alto
, Charles Mingus
Charles Mingus
Charles Mingus
1922 - 1979
bass, acoustic
, McCoy Tyner
McCoy Tyner
McCoy Tyner
b.1938
piano
, Jackie McLean
Jackie McLean
Jackie McLean
1932 - 2006
sax, alto
, and Lee Morgan
Lee Morgan
Lee Morgan
1938 - 1972
trumpet
were regular attractions.

To the dismay of Northern New Jersey jazz fans, as well as many musicians who live in the area, Cecil's has recently joined the ranks of lost jazz shrines. After nearly nine years, Cecil and Adrenna Brooks closed the club for good on February 26, 2012. Because hardcore fans are nearly as passionate about certain venues as they are about the music, it's not a stretch to think that Cecil's, too, will become the stuff of legend.

Unlike many venues in which avid listeners have to work at hearing the music amidst the commotion of food and drink being served, Cecil's was a real jazz club. Good food and a well stocked bar never upstaged the music. It was a place where I could introduce my teenage nieces to jazz without subjecting them to the distractions inherent in some places, or the stodgy confines of a concert hall. In addition to good sightlines from all parts of the room and exceptional sound, a half dozen low slung tables and chairs literally provided a ringside seat for those who wanted to be on top of the music.

Veteran drummer, bandleader, and record producer Cecil Brooks III
Cecil Brooks III
Cecil Brooks III
b.1959
drums
was actively involved in every aspect of the club's operation. The phrase "the dignity of labor" came to mind while watching Brooks take care of business. A gregarious man who (in the days before New Jersey's smoking ban) often appeared with a stogie in his mouth, Brooks stopped to greet customers while changing light bulbs or tending to the room's sound system. A compliment about his drumming or one of his bands went a long way to making Brooks happy, particularly after a demanding night of doing everything from counting receipts to cleaning the rest rooms.

Giving a shot to drummer/bandleaders was one of the central tenets of Brooks' bookings for the club. A partial list of trapsters who benefited from his "give the drummer some" philosophy, includes Vince Ector
Vince Ector
Vince Ector
b.1965
drums
, Michael Carvin
Michael Carvin
Michael Carvin
b.1944
drums
, Victor Jones, Ralph Peterson
Ralph Peterson
Ralph Peterson
b.1962
drums
, Steve Smith
Steve Smith
Steve Smith
b.1954
drums
, Fred Taylor
Fred Taylor
Fred Taylor
b.1954
drums
, and Pete Zimmer
Pete Zimmer
Pete Zimmer
b.1977
drums
. On many occasions throughout the club's run, Brooks featured his own CBIII Band, a soul-jazz outfit which played in an aggressive, take-no-prisoners manner. On the day after Max Roach
Max Roach
Max Roach
1925 - 2007
drums
's passing, during a performance billed as "The Father, Son, and Holy Groove," Brooks battled his father, Cecil Brooks II ("the man who taught me how to play") to a standoff on a gleeful, stomping version of Sonny Rollins
Sonny Rollins
Sonny Rollins
b.1930
saxophone
' "St. Thomas."

In the end, the club's most important contribution to the art of jazz performance was Brooks' willingness to feature bands that rarely got the opportunity to play elsewhere. Although none of them are marquee names, the groups of trumpeter/flugelhornist Nathan Eklund
Nathan Eklund
Nathan Eklund
b.1978
trumpet
, alto flugelhornist/alto valve trombonist Scott Reeves
Scott Reeves
b.1950
trombone
, saxophonist/flutist Roxy Coss
Roxy Coss
Roxy Coss
b.1986
sax, tenor
, and New Tricks
New Tricks
New Tricks

band/orchestra
(co-led by saxophonist Mike Lee
Mike Lee
Mike Lee
b.1963
sax, tenor
and trumpeter Ted Chubb
Ted Chubb
Ted Chubb

trumpet
), were well- rehearsed, committed to playing original material, and possessed a distinctive, clearly defined sound. Leaving Cecil's after their sets I was certain that the future of jazz was in good hands, and thankful that Brooks had the foresight to present them.

Goodbye, Cecil's. Thanks for the music and the memories.

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