Hi,
Great site and thanks for the memories. I first visited the Music Inn in 1978, the summer after graduating High School. A buddy and I went on a whim to see Pablo Cruz, a sort of one hit wonder (Find a place in the sun). They were actually pretty good and we had a great time at this amazing spot in the woods.
I'm curious as I didn't see them listed for shows that summer or at all for that matter.Maybe they filled in for a cancelation?
Later that summer we went to see a double bill - Toots and the Maytals with Robert Palmer opening. I remember distinctly because Toots could not make it and had to cancel so Palmer announced it and was a trooper and did a double set for the crowd. This was pre his 80's stardom and he did a great job. I saw Palmer listed and Toots listed with Burning Spear but not the Toots/ Palmer combo we went to.
Just wondering if you can offer any clarification regarding these shows.
I saw another show that summer and a few the next and that was it. Sadly, it was over - but I still have great memories of the Music Inn and I'll definitely explore the site more.
thanks, Mark Mazut
If you can respond to Mark's inquiry, please email [email protected] or fill out the Contact Form and we'll share it here. You can also join in the conversation on Music Inn's Facebook Page.
Music Inn—A Life Changer by Paul Duynhouwer
It all began during the winter of 1958 in my home town in the Netherlands where I had just started to make a bit of a name for myself as a professional jazz trombonist. Waiting for a train at a small station I browsed in the news kiosk and was surprised to find a copy of Down Beat, the popular American jazz magazine. A small article mentioned the School of Jazz in Lenox, Mass. and invited young musicians to apply for scholarships for the three-week course in August 1958. I mentioned this to my girl friend and she immediately told me to apply. “You never know” she said, and I sort of laughed but did follow her advice just the same..
To my great surprise I did receive a prompt and very cordial reply from J. Foster, the dean of students, asking me to submit a tape of my playing so that the school board, headed by John Lewis, of Modern Jazz Quartet fame, could evaluate my abilities. I then made sure to round up the very best Dutch jazz musicians in The Hague and recorded a session that ended up sounding pretty good. Out it went to Lenox and I anxiously awaited the reaction.
It came very quickly in the form of another cordial letter from J. Foster, giving me the good news that I had been accepted at the school on a work scholarship which entailed a job at Music Inn that would cover my living expenses and tuition for the three-week course. Those not familiar with the School of Jazz might not know that this legendary institution was unique in that the faculty consisted of America’s most famous jazz musicians at that time—Dizzy Gillespie and Oscar Peterson had taught during the 1957 season while for 1958 jazz greats such as Bob Brookmeyer, Max Roach, Bill Russo, Lee Konitz, Jim Hall and George Russell were engaged to teach and lead workshops.
Mr. Foster told me to work on getting a student visa for the U.S. and offered to sponsor me, a gesture that I am still immensely grateful for. It was smooth sailing from there on leading to my arrival in late June at Hoboken, N.J. on a student boat. After a few days with Dutch friends in New York City I then boarded a train headed for Stockbridge where J. Foster met and escorted me to my home for the summer—Music Inn!
My sleeping accommodation, dormitory-style, was in the Barn adjoining the Music Barn or “the tent” as we called it. My job—waiting on tables and playing my trombone at the Potting Shed, the bistro-like bar and restaurant open from 5 P.M. to midnight. I had arrived just in time to help with opening the place for the season; a lot of scrubbing and mopping with everybody, cooks, waiters, the bar tender, working hard to get the job done for the Fourth of July weekend opening. My big challenge then began—I was totally unfamiliar with the many exotic “high balls” that Americans consumed at that time—side car, martini, stinger, whisky sour, manhattan, singapore sling, etc. There were a few occasions when I mistook drink orders for food orders, much to the amusement of the kitchen staff. What also confused me was the tipping system in effect in the U.S.—customers just leave change on the table (there were no credit cards then) while in Europe you would hand the tip money to the waiter if the bill was not inclusive, as it almost always was. But I kept finding all that cash while clearing my tables and went to the Maitre‘d inquiring why so many people lost money. More amusement on the part of our staff. But, and I consider this typical American, they were so receptive to my being foreign that they allowed me to set the tables in European fashion with silver all on the napkin. They thought this “classy”. The customers, likewise, struck me as so friendly and informal, always asking “where are you from” and ”how long have you been here” (two weeks. Oh, how do you like it? was a standard exchange). In the Europe I grew up in, customers never conversed with “the help” so I was very impressed to be treated like a human being. Welcome to America!
The food served at the Potting Shed was simple and very inexpensive. One main course item stands out in my mind—the “meat muffin” an original creation of the chef whose name I do not remember alas. The meat muffin looked like a small hamburger but the ingredients were very secret. When I served it to my trombone teacher Bob Brookmeyer, he looked at it for a minute or so and then asked “should I smoke it or pray to it”?
The musical part of my job at the Potting Shed was regulated by the amount of traffic—if it was busy, the owner of Music Inn, Stephanie Barber, made sure I waited on tables; if it was quiet I played my trombone with pianist Tupper Saussy, who had attended the 1957 season at the School of Jazz studying with Oscar Peterson. Tupper was hired as a cocktail pianist at the Lodge, in the main building, before dinner, and at the Potting Shed after dinner. He was a great pianist who could play anything and was a superb accompanist for what I was trying to do on my trombone. In later years Tupper wrote a very controversial book “Rulers of Evil—useful knowledge about governing bodies”. One of the highlights of our time playing together came when the famous jazz singer Anita O’Day came to sit in with us one evening. This session was immortalized by the great photographer Klemens Kalischer whose work can be found on the Music Inn website including one photo of Anita and me.
Naturally, when the School of Jazz was about to begin, in August, all those great jazz musicians arrived and the Potting Shed became the focal point for incredible jam sessions. One evening virtually the entire Duke Ellington band showed up for drinks prior to their concert and by then I did know the drinks—bourbon on the rocks for everyone and don’t spoil it with water! Other guests included George Shearing, Toots Thielemans and Dave Brubeck, just to name a few.
Individual classes were taught in rehearsal rooms in the Barn, and the Big Band consisting of students and some faculty members rehearsed in the Music Barn. Here the Modern Jazz Quartet rehearsed in the morning and I distinctly remember waking up one morning to their refined yet intensely swinging music as I was right next door in the dorm. What a way to start the day!
On August 29, 1958, the final student concert was held at the Music Barn which was packed for the occasion. I played in the Bill Russo big band and in the Max Roach ensemble, and I understand that this concert was recorded even though I have never heard it.
Music Inn was not over for me as I was fortunate to be offered another scholarship for the 1959 season by the same J. Foster. This time I did not work at Music Inn but just attended the school for three weeks in August. This session attracted a lot of attention as it launched the career of a very famous avant-garde and, at that time, controversial jazz musician—alto saxophonist and composer Ornette Coleman who, with trumpeter Don Cherry, was to take New York City by storm with their engagement at the Five Spot later that year. There is a recording out featuring Coleman and Cherry on the final 1959 student concert at Music Inn on which I also performed with the Kenny Dorham ensemble.
My time at Music Inn was so inspiring, not only musically, but also aestethically because you are, after all, in one of the most beautiful and culturally enriching parts of the United States. I thought I had landed in paradise, and never went back to my native Netherlands except for an occasional visit. Music Inn was a life changer for me, a retired American citizen now, with nothing but wonderful memories of the two best summers of my life.
Great site and thanks for the memories. I first visited the Music Inn in 1978, the summer after graduating High School. A buddy and I went on a whim to see Pablo Cruz, a sort of one hit wonder (Find a place in the sun). They were actually pretty good and we had a great time at this amazing spot in the woods.
I'm curious as I didn't see them listed for shows that summer or at all for that matter.Maybe they filled in for a cancelation?
Later that summer we went to see a double bill - Toots and the Maytals with Robert Palmer opening. I remember distinctly because Toots could not make it and had to cancel so Palmer announced it and was a trooper and did a double set for the crowd. This was pre his 80's stardom and he did a great job. I saw Palmer listed and Toots listed with Burning Spear but not the Toots/ Palmer combo we went to.
Just wondering if you can offer any clarification regarding these shows.
I saw another show that summer and a few the next and that was it. Sadly, it was over - but I still have great memories of the Music Inn and I'll definitely explore the site more.
thanks, Mark Mazut
If you can respond to Mark's inquiry, please email [email protected] or fill out the Contact Form and we'll share it here. You can also join in the conversation on Music Inn's Facebook Page.
Music Inn—A Life Changer by Paul Duynhouwer
It all began during the winter of 1958 in my home town in the Netherlands where I had just started to make a bit of a name for myself as a professional jazz trombonist. Waiting for a train at a small station I browsed in the news kiosk and was surprised to find a copy of Down Beat, the popular American jazz magazine. A small article mentioned the School of Jazz in Lenox, Mass. and invited young musicians to apply for scholarships for the three-week course in August 1958. I mentioned this to my girl friend and she immediately told me to apply. “You never know” she said, and I sort of laughed but did follow her advice just the same..
To my great surprise I did receive a prompt and very cordial reply from J. Foster, the dean of students, asking me to submit a tape of my playing so that the school board, headed by John Lewis, of Modern Jazz Quartet fame, could evaluate my abilities. I then made sure to round up the very best Dutch jazz musicians in The Hague and recorded a session that ended up sounding pretty good. Out it went to Lenox and I anxiously awaited the reaction.
It came very quickly in the form of another cordial letter from J. Foster, giving me the good news that I had been accepted at the school on a work scholarship which entailed a job at Music Inn that would cover my living expenses and tuition for the three-week course. Those not familiar with the School of Jazz might not know that this legendary institution was unique in that the faculty consisted of America’s most famous jazz musicians at that time—Dizzy Gillespie and Oscar Peterson had taught during the 1957 season while for 1958 jazz greats such as Bob Brookmeyer, Max Roach, Bill Russo, Lee Konitz, Jim Hall and George Russell were engaged to teach and lead workshops.
Mr. Foster told me to work on getting a student visa for the U.S. and offered to sponsor me, a gesture that I am still immensely grateful for. It was smooth sailing from there on leading to my arrival in late June at Hoboken, N.J. on a student boat. After a few days with Dutch friends in New York City I then boarded a train headed for Stockbridge where J. Foster met and escorted me to my home for the summer—Music Inn!
My sleeping accommodation, dormitory-style, was in the Barn adjoining the Music Barn or “the tent” as we called it. My job—waiting on tables and playing my trombone at the Potting Shed, the bistro-like bar and restaurant open from 5 P.M. to midnight. I had arrived just in time to help with opening the place for the season; a lot of scrubbing and mopping with everybody, cooks, waiters, the bar tender, working hard to get the job done for the Fourth of July weekend opening. My big challenge then began—I was totally unfamiliar with the many exotic “high balls” that Americans consumed at that time—side car, martini, stinger, whisky sour, manhattan, singapore sling, etc. There were a few occasions when I mistook drink orders for food orders, much to the amusement of the kitchen staff. What also confused me was the tipping system in effect in the U.S.—customers just leave change on the table (there were no credit cards then) while in Europe you would hand the tip money to the waiter if the bill was not inclusive, as it almost always was. But I kept finding all that cash while clearing my tables and went to the Maitre‘d inquiring why so many people lost money. More amusement on the part of our staff. But, and I consider this typical American, they were so receptive to my being foreign that they allowed me to set the tables in European fashion with silver all on the napkin. They thought this “classy”. The customers, likewise, struck me as so friendly and informal, always asking “where are you from” and ”how long have you been here” (two weeks. Oh, how do you like it? was a standard exchange). In the Europe I grew up in, customers never conversed with “the help” so I was very impressed to be treated like a human being. Welcome to America!
The food served at the Potting Shed was simple and very inexpensive. One main course item stands out in my mind—the “meat muffin” an original creation of the chef whose name I do not remember alas. The meat muffin looked like a small hamburger but the ingredients were very secret. When I served it to my trombone teacher Bob Brookmeyer, he looked at it for a minute or so and then asked “should I smoke it or pray to it”?
The musical part of my job at the Potting Shed was regulated by the amount of traffic—if it was busy, the owner of Music Inn, Stephanie Barber, made sure I waited on tables; if it was quiet I played my trombone with pianist Tupper Saussy, who had attended the 1957 season at the School of Jazz studying with Oscar Peterson. Tupper was hired as a cocktail pianist at the Lodge, in the main building, before dinner, and at the Potting Shed after dinner. He was a great pianist who could play anything and was a superb accompanist for what I was trying to do on my trombone. In later years Tupper wrote a very controversial book “Rulers of Evil—useful knowledge about governing bodies”. One of the highlights of our time playing together came when the famous jazz singer Anita O’Day came to sit in with us one evening. This session was immortalized by the great photographer Klemens Kalischer whose work can be found on the Music Inn website including one photo of Anita and me.
Naturally, when the School of Jazz was about to begin, in August, all those great jazz musicians arrived and the Potting Shed became the focal point for incredible jam sessions. One evening virtually the entire Duke Ellington band showed up for drinks prior to their concert and by then I did know the drinks—bourbon on the rocks for everyone and don’t spoil it with water! Other guests included George Shearing, Toots Thielemans and Dave Brubeck, just to name a few.
Individual classes were taught in rehearsal rooms in the Barn, and the Big Band consisting of students and some faculty members rehearsed in the Music Barn. Here the Modern Jazz Quartet rehearsed in the morning and I distinctly remember waking up one morning to their refined yet intensely swinging music as I was right next door in the dorm. What a way to start the day!
On August 29, 1958, the final student concert was held at the Music Barn which was packed for the occasion. I played in the Bill Russo big band and in the Max Roach ensemble, and I understand that this concert was recorded even though I have never heard it.
Music Inn was not over for me as I was fortunate to be offered another scholarship for the 1959 season by the same J. Foster. This time I did not work at Music Inn but just attended the school for three weeks in August. This session attracted a lot of attention as it launched the career of a very famous avant-garde and, at that time, controversial jazz musician—alto saxophonist and composer Ornette Coleman who, with trumpeter Don Cherry, was to take New York City by storm with their engagement at the Five Spot later that year. There is a recording out featuring Coleman and Cherry on the final 1959 student concert at Music Inn on which I also performed with the Kenny Dorham ensemble.
My time at Music Inn was so inspiring, not only musically, but also aestethically because you are, after all, in one of the most beautiful and culturally enriching parts of the United States. I thought I had landed in paradise, and never went back to my native Netherlands except for an occasional visit. Music Inn was a life changer for me, a retired American citizen now, with nothing but wonderful memories of the two best summers of my life.
Music Inn Archives is a non-profit program administered by Projectile Arts, Inc.
* Website created by Lynnette Najimy of Beansprout Productions and Lee Everett of Fine Line Multimedia
* Website created by Lynnette Najimy of Beansprout Productions and Lee Everett of Fine Line Multimedia
