Editor’s Note: Guest columnist Chip Deffaa remembers an important venue in the history of New York City and the driving force behind Michael’s Pub; Gil Weist opened the club in the early 1970s and successfully ran it until 1998.
By Chip Defaa***I’m sorry to note the passing of Gil Wiest, who long ran one of the greatest of New York nightspots, Michael’s Pub. He had such a wonderful impact on New York nightlife, I want to just take a moment to remember him. He had terrific taste in talent, and terrific instincts for how to sustain a booking.
He booked artists for much longer runs than anyone else in the city, then or now. I remember when he presented Julie Wilson saluting Cole Porter for two-and-a-half months. He believed in long runs. Long runs meant more press coverage, he noted, an
d they gave everyone time for word of mouth to build.
He presented filmmaker Woody Allen’s Jazz Band every Monday night–with no advertising, never a mention of Allen’s name to the press. (The band was originally billed as the New Orleans Funeral and Ragtime Band, or some such thing.) Woody’s band (without Woody being billed) drew packed houses for 25 years due to word-of-mouth. And helped make Michael’s Pub, at 211 E. 55h Street, the place to be.
Gil did first-rate salutes to songwriters he appreciated, from Jelly Roll Morton to Sondheim,. He impeccably showcased Mel Torme, Anita O’Day, Ruth Brown, Vernel Bagneris, Side Caesar and Imogene Coca, Stan Freeman, LaVern Baker, Hadda Brooks, Ethel Ennis, and countless other notable artists.
Only one songwriter objected to Wiest presenting a salute to him: Irving Berlin. When Berlin read a piece I wrote in the New York Post saying Michael’s Pub was going to salute Berlin, Berlin objected. Gil phoned me, saying Berlin had read my article and was threatening legal action. Gil was one tough cookie, but he was not about to fight Irving Berlin. He reluctantly agreed to cancel that show. And Wiest—who did not give up easily—opened a “new” show that was no longer billed as a salute to Berlin, and consisted of 75% Berlin songs, instead of 100% Berlin songs. So I’m not sure who “won” that particular battle.
From the 1950s until his retirement circa 2000, Gil Wiest set a high standard for New York nightlife. I’ve referenced him in a couple of my plays.
My condolences to his grandson, Henry Wiest, and family.
