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Fat Babies
Sundays, 8 p.m.
Jazz
With few exceptions, those practicing the sort of traditional jazz popularized in New Orleans and Chicago during the 20s and early 30s essentially believe and traffic in museum-grade preservation. They play for audiences living in time-travel fantasies, preferring to ignore the music made over the last 80 years as they seek Charleston partners. The members of Chicago’s Fat Babies might perform in shirtsleeves and neckties and meticulously record interpretations of the trad-jazz repertoire in glorious mono, but they also play music of other eras—whether it’s drummer Alex Hall working in the Flat Five or bassist Beau Sample storming through Jazz Manouche with Alfonso Ponticelli. The Fat Babies perform with such a vitality—never jacking up the pitch-perfect rhythm or playing postmodern games—that I don’t even see what they do as an act of reclamation. The ebullient polyphony and drive on their third album, Solid Gassuh (Delmark), is pure pleasure, a riot of motion and multilinear melody as banjoist Jake Sanders flails propulsive chords alongside the Baby Dodds-inspired rhythmic spill of Hall and Sample’s unerring pulse-and-harmony anchor. That leaves plenty of space for the raucous yet lyric playing of pianist Paul Asaro, reedists Jonathan Doyle and John Otto, trombonist Dave Bock, and cornetist Andy Schumm. While the occasional white-bread vocal might suggest a hokey costume party, there’s little to disrupt the spell these guys cast their long-running weekly residencies. 312-226-7427
With few exceptions, those practicing the sort of traditional jazz popularized in New Orleans and Chicago during the 20s and early 30s essentially believe and traffic in museum-grade preservation. They play for audiences living in time-travel fantasies, preferring to ignore the music made over the last 80 years as they seek Charleston partners. The members of Chicago’s Fat Babies might perform in shirtsleeves and neckties and meticulously record interpretations of the trad-jazz repertoire in glorious mono, but they also play music of other eras—whether it’s drummer Alex Hall working in the Flat Five or bassist Beau Sample storming through Jazz Manouche with Alfonso Ponticelli. The Fat Babies perform with such a vitality—never jacking up the pitch-perfect rhythm or playing postmodern games—that I don’t even see what they do as an act of reclamation. The ebullient polyphony and drive on their third album, Solid Gassuh (Delmark), is pure pleasure, a riot of motion and multilinear melody as banjoist Jake Sanders flails propulsive chords alongside the Baby Dodds-inspired rhythmic spill of Hall and Sample’s unerring pulse-and-harmony anchor. That leaves plenty of space for the raucous yet lyric playing of pianist Paul Asaro, reedists Jonathan Doyle and John Otto, trombonist Dave Bock, and cornetist Andy Schumm. While the occasional white-bread vocal might suggest a hokey costume party, there’s little to disrupt the spell these guys cast their long-running weekly residencies. 312-226-7427
Charlie Love & the Silky Smooth Blues Band, Linsey Alexander
Sundays, 9:30 p.m.
Blues, Gospel, and R&B
773-477-4646
773-477-4646
Extraordinary Popular Delusions
Mondays, 8:30 p.m.
Jazz
In one evening they might touch on rip-snorting fire music, spacy electronics, or delicate, arrhythmic timbral explorations—half the fun is seeing them disappear down a stylistic rabbit hole, then come out the other end sounding like something from a different genre, decade, or planet. —Bill Meyer, 2012 773-281-4444
In one evening they might touch on rip-snorting fire music, spacy electronics, or delicate, arrhythmic timbral explorations—half the fun is seeing them disappear down a stylistic rabbit hole, then come out the other end sounding like something from a different genre, decade, or planet. —Bill Meyer, 2012 773-281-4444
Fat Babies
Tuesdays, 9 p.m.
Jazz
With few exceptions, those practicing the sort of traditional jazz popularized in New Orleans and Chicago during the 20s and early 30s essentially believe and traffic in museum-grade preservation. They play for audiences living in time-travel fantasies, preferring to ignore the music made over the last 80 years as they seek Charleston partners. The members of Chicago’s Fat Babies might perform in shirtsleeves and neckties and meticulously record interpretations of the trad-jazz repertoire in glorious mono, but they also play music of other eras—whether it’s drummer Alex Hall working in the Flat Five or bassist Beau Sample storming through Jazz Manouche with Alfonso Ponticelli. The Fat Babies perform with such a vitality—never jacking up the pitch-perfect rhythm or playing postmodern games—that I don’t even see what they do as an act of reclamation. The ebullient polyphony and drive on their third album, Solid Gassuh (Delmark), is pure pleasure, a riot of motion and multilinear melody as banjoist Jake Sanders flails propulsive chords alongside the Baby Dodds-inspired rhythmic spill of Hall and Sample’s unerring pulse-and-harmony anchor. That leaves plenty of space for the raucous yet lyric playing of pianist Paul Asaro, reedists Jonathan Doyle and John Otto, trombonist Dave Bock, and cornetist Andy Schumm. While the occasional white-bread vocal might suggest a hokey costume party, there’s little to disrupt the spell these guys cast their long-running weekly residencies. 773-878-5552
With few exceptions, those practicing the sort of traditional jazz popularized in New Orleans and Chicago during the 20s and early 30s essentially believe and traffic in museum-grade preservation. They play for audiences living in time-travel fantasies, preferring to ignore the music made over the last 80 years as they seek Charleston partners. The members of Chicago’s Fat Babies might perform in shirtsleeves and neckties and meticulously record interpretations of the trad-jazz repertoire in glorious mono, but they also play music of other eras—whether it’s drummer Alex Hall working in the Flat Five or bassist Beau Sample storming through Jazz Manouche with Alfonso Ponticelli. The Fat Babies perform with such a vitality—never jacking up the pitch-perfect rhythm or playing postmodern games—that I don’t even see what they do as an act of reclamation. The ebullient polyphony and drive on their third album, Solid Gassuh (Delmark), is pure pleasure, a riot of motion and multilinear melody as banjoist Jake Sanders flails propulsive chords alongside the Baby Dodds-inspired rhythmic spill of Hall and Sample’s unerring pulse-and-harmony anchor. That leaves plenty of space for the raucous yet lyric playing of pianist Paul Asaro, reedists Jonathan Doyle and John Otto, trombonist Dave Bock, and cornetist Andy Schumm. While the occasional white-bread vocal might suggest a hokey costume party, there’s little to disrupt the spell these guys cast their long-running weekly residencies. 773-878-5552
