{"id":9656,"date":"2018-06-10T20:32:45","date_gmt":"2018-06-11T03:32:45","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9656"},"modified":"2018-06-10T20:34:43","modified_gmt":"2018-06-11T03:34:43","slug":"lorraine-gordon-rip","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/06\/lorraine-gordon-rip\/","title":{"rendered":"Lorraine Gordon, RIP"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-9657\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/06\/Lorraine-Gordon.jpg\" alt=\"\" width=\"178\" height=\"189\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/06\/Lorraine-Gordon.jpg 331w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/06\/Lorraine-Gordon-284x300.jpg 284w\" sizes=\"auto, (max-width: 178px) 100vw, 178px\" \/>Lorraine Gordon, who inherited the Village Vanguard after her husband Max died in 1989, remained its proprietor and no-nonsense guiding spirit until her death yesterday in New York. She was 95. Under the Gordons, the Vanguard became quite likely the most famous jazz club in the world. Bill Evans, Miles Davis, John Coltrane, the Thad Jones-Mel Lewis Jazz Orchestra and Wynton Marsalis were among many musicians who made memorable live recordings and videos there. The club is a destination not only for New Yorkers but also for jazz listeners from throughout the world who make it a required stop when they visit the city. Here is a recent interview with Mrs. Gordon, courtesy of the National Endowment For The Arts.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/kQZ1akOwalo\" width=\"560\" height=\"315\" frameborder=\"&lt;\/p\"><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/kQZ1akOwalo\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/iframe><\/p>\n<p style=\"text-align: left;\"><span style=\"text-align: left;\">For an extensive summary of Lorraine Gordon\u00e2\u20ac\u2122s life, <\/span><a style=\"text-align: left;\" href=\"https:\/\/www.nytimes.com\/2018\/06\/09\/arts\/music\/lorraine-gordon-dies.html?hpw&amp;rref=obituaries&amp;action=click&amp;pgtype=Homepage&amp;module=well-region&amp;region=bottom-well&amp;WT.nav=bottom-well\" target=\"_blank\" rel=\"noopener\">see her obituary<\/a><span style=\"text-align: left;\"> in today\u00e2\u20ac\u2122s <\/span><em style=\"text-align: left;\">New York Times<\/em><span style=\"text-align: left;\">. Her daughter Deborah will reportedly take over management of the Vanguard<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Lorraine Gordon, who inherited the Village Vanguard after her husband Max died in 1989, remained its proprietor and no-nonsense guiding spirit until her death yesterday in New York. She was 95. Under the Gordons, the Vanguard became quite likely the most famous jazz club in the world. Bill Evans, Miles Davis, John Coltrane, the Thad [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":9657,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-9656","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9656","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=9656"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9656\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/9657"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9656"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9656"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9656"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}