Category Archives: Concerts

Chicago Reader Critic’s Choice by Peter Margasak

Critic’s Choice Recommended The List (Music)
Rudresh Mahanthappa Quartet 
This year alto saxophonist Rudresh Mahanthappa has released two small-band records with fellow alto players, but despite their unusual instrumental format neither is merely a blowing session. On Dual Identity (Clean Feed), the recorded debut of his collaboration with saxist Steve Lehman, both men contribute brainy, mathematical compositions that allow Mahanthappa to showcase his mastery of metrically advanced postbop a la Steve Coleman. Over intricate grooves shaped by bassist Matt Brewer, guitarist Liberty Ellman, and drummer Damion Reid, the saxophonists manipulate time as though they’re solving equations in their heads, navigating shifting tempos on “Foster Brothers” and unfurling simultaneous skeins of stuttering, thrillingly bumpy sixteenth notes on “Rudreshm.” Better still, they complement the technical sophistication of their improvisations with raw emotion. Mahanthappa is joined by veteran saxist Bunky Green, one of his key influences, on the brand-new Apex (Pi)—a collaboration they debuted last summer in Millennium Park with a different backing band. It’s less frenzied and more supple than Dual Identity ; some tracks borrow from Indian classical music, using briskly winding melodic shapes or 22-beat cyclical patterns, while others update fiercely swinging hard bop with a busy, aggressive rhythm section. Though Green has had an enduring influence on several generations of reedists, the album is no mere deferential salute but rather a rigorous, contemporary statement. The arrangements, filled out by pianist Jason Moran, bassist Francois Moutin, and on several tracks the great drummer Jack DeJohnette (Reid plays on the rest), not only highlight Green’s driving energy and curiosity but also illustrate Mahanthappa’s remarkable ability to locate common threads shared by disparate traditions and build entirely new musical systems from them. For this engagement he leads a variation on his long-running quartet: Moutin, drummer Dan Weiss, and pianist Craig Taborn filling in for Vijay Iyer. Taborn is an agile player, and because he and Mahanthappa aren’t steady collaborators, he’s perhaps more likely to provoke something surprising from the saxist. —Peter Margasak

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The Jazz Observer review by Forrest Dylan Bryant


Lisa Mezzacappa’s Bait & Switch

On an afternoon dominated by rhythm and blues, it was a small but adventurous group that headed for the room known as the Night Club to check out San Francisco bassist Lisa Mezzacappa and her twitchy, angular quartet, Bait & Switch. A few, not knowing what they were getting into, might have even found the band’s name accurate. But for those who could hang with the band’s multiple twists and turns, it was a thoroughly enjoyable thrill ride.

Marked by tense, insistent riffing in odd meters, Bait & Switch draws its inspiration from what Mezzacappa calls the “little moments” in extended stretches of free improvisation — those times when everybody in a band finds themselves on precisely the same wavelength and the clarity shines through. Taking such little moments from recordings by Eric Dolphy, Ornette Coleman, the Art Ensemble of Chicago and others as her sources, Mezzacappa has blown apart and reconstructed those snippets of sound into full-blown original tunes.

Mezzacappa is one of those bassists who is as much fun to watch as she is to hear. Switching restlessly between bowed and pizzicato playing, she might rock back on her heels or lean in close to her music stand at any moment, sometimes plucking forcefully at the strings as if to flick off something nasty, at other times melodic and introspective. Her solo lines roam hither and yon, like a housefly buzzing around a room: hovering, meandering, or banging against the window trying to get out.

The band’s other main voice belongs to tenor saxophonist Aaron Bennett, whose agitated skronk quivers and shakes as if about to implode, or turns huge and open, brushing the outer edges of tone. When he gets truly heated up, his body twists in uncomfortable directions and his own gulping breaths become a part of the music, marking the time with an odd, hiccuping sound. John Finkbeiner offers a sort of wry commentary on guitar, with fractured half-grooves like miniature cubist paintings, while drummer Vijay Anderson chugs away like a runaway train, quick-paced and unswerving. Time and again Anderson would fall into a riff and worry it down to a nub, then toss it aside in the blink of an eye in favor of some new variation.

They may have been out of sync with the rest of the Festival on this day, but Bait & Switch’s little moments provided an intriguing afternoon shake-up.
http://www.jazzobserver.com/2010/09/monterey-2010-lisa-mezzacappas-bait-switch/

Clean Feed Festival review at Downbeat by Michael Jackson

Clean Feed Festival Builds Improv Bridges

In times of fiscal duress, the arts can flourish regardless. President Franklin D. Roosevelt’s Federal Art Project even fueled creativity during the depression.

Still, Pedro Costa’s Lisbon-based Clean Feed label is something else entirely. Last year with the globe in the bowels of recession, Costa released 36 new Cds of challenging music and intends to up that tally to 45 in 2010. No instance of quantity over quality, each Clean Feed CD is gorgeously packaged and features choice recordings by new vanguardists from both sides of the Atlantic.

For the past five years, Costa has hosted label festivals in New York. In consultation with Umbrella/Pitchfork promoter Mike Reed, this year Costa set sights on Chicago, since a growing slice of his roster, including Herculaneum, Charles Rumback, Ken Vandermark and Jason Stein, emanate from the Windy City.

Over two days at Chicago’s Cultural Center, Hideout and Heaven Gallery, Clean Feed featured the New York trio of reedist Ingrid Laubrock, pianist Kris Davis and vaunted drummer Tyshawn Sorey, Memorize the Sky (reedist Matt Bauder, drummer/vibist Aaron Siegel, bassist Zach Wallace), Chicago’s Keefe Jackson and Lisbon’s RED Trio.

Jackson’s trio, in which bassist Jason Roebke is integral, concluded its set in the Cultural Center’s Preston Bradley Hall with “Maker”, the opener from the recording dubbed Seeing You See on the label. Charles Mingus-like in ominous passages. “Maker” stunningly balances Jackson’s chiseled tenor tone and Jeb Bishop’s livewire trombone. Also salient was Jackson’s increasing use of the eerily profound contrabass clarinet. The ecletic crowd at the Cultural Center included seniors, who were a little taken aback during the following set, when Sorey walloped his side drum after protracted minimalist. Laubrock held much in reserve, altough the slow builds, effectiveon the fine Clean Feed document Paradoxical Frog, dragged a little live.

A superbly impromptu set where Bishop and bassist Josh Abrams met Portuguese guitarrist Luis Lopes at the Hideout proceeded an impressive showing from local sextet Herculaneum. Driven by whip-crack drummer Dylan Ryan and exploratory alto saxophonist Dave McDonnel, Herculaneumfeatured fresh, though-composed structures, in the case of “Eyeball# recalling Trevor Watts’ Moiré Music, which makes abundant, intelligent use of horn-heavy frontline.

Bass clarinetist Jason Stein’s trio Locksmith Isidore works around drummer Mike Pride living in New York, so when they get together they don’t spare the horses. The audience was regrettably thin for the final sets at the Heaven Gallery but the music writ large. “RED Trio” hunkered down as soon as Rodrigo Pinheiro’s fingers hit the piano. Hernani Faustino’s hydraulic bass in close cahoots with gabriel Ferrandini’s nervously acute percussion made this dark-hued improv of a high order. Stein, Roebke and Pride fed off the chamber-like intensity of the sparsely intimate space with a brilliantly tight set.

All About Jazz New York review by Andrey Henkin

Clean Feed Fest NY V
With its fifth annual festival in New York, the Portuguese label Clean Feed accomplished the simultaneous purpose of highlighting individual artists as well as its larger aesthetic mission. Each night of the three-day celebration at Cornelia Street Café presented working bands from Europe and the States, two wellsprings from which the imprint draws its talent. The final evening (May 9th) was the most obvious example of this dichotomy: the half Portuguese-half-Italian quartet Tetterapadequ sharing a billing with New York saxophonist Tony Malaby’s Voladores group. The audience was highly partisan, Portuguese bubbling up before the concert and during intermission, eager to hear Tetterapadequ’s particular brand of amorphous jazz. This owed more to the American avant garde of the late ‘60s, á la Paul Bley or even Wayne Shorter, in its spaciousness, particularly pianist Giovanni di Domenico, the band spiking only rarely in favor of rounder edges, skirting dissonance with a Southern European romanticism. Malaby only had drummer Tom Rainey from the 2009 album in tow, the rest of the band filled out by bassist Sean Conly (himself a Clean Feed artist) and percussionist Satoshi Takeishi. Though known for his bombast, the leader was carried away by the activist bassist and the healthily-competing, and quite different, drummers, a liontamer locked inside a cage of his own making, content to add an emotional layer on top of the cerebral onslaught.

All About Jazz review by Tad Hendrickson

Tony Malaby and His Horn Bring the Clean Feed Festival’s New York Shows to a Close
It was late night on Sunday, May 9, when Tony Malaby and his Apparitions Quartet were cooking through a set of songs filled with high-energy improvisation, complex polyrhythms and beautiful melodies. Backed by drummers Tom Rainey and Satoshi Takeishi as well as bassist Sean Conly, Malaby played saxophone with a bristling intensity that matched the two-drummer backline, rocking back and forth with his eyes closed as he did. The sound filled the cozy basement of Cornelia Street Café as fans took in the adventurous music with a nodding approval.

The percussion-heavy band found a nice sweet spot between the angular playing of Rainey and the more impressionistic pastiche of Takeishi, who focused on hand percussion. It’s often dicey putting two drummers in the same band, but the two worked well together for the most part, conjuring a strong tribal vibe at times and then stepping back when the music went quiet and melodic. The two only ran afoul when they were too in sync, playing in unison from time to time instead of conversationally. At their best, you could hear the two batting rhythmic ideas back and fourth, elaborating on different elements of the groove while moving the music forward together. As a linchpin between the two, bassist Conly seldom wandered from the pulse of the music while providing a bit of harmonic context for the reedist.

Malaby was in his element from the get-go. The set opened with a light dancing improvisation by the band, with him on soprano sax. While this combo is different than the one that appears on the recent CD ‘Valadores’ (Rainey being the only other member to appear on the CD), it went seamlessly from tune to tune. The music here was inspired by the folkloric valadores that Malaby saw as a kid growing up in Tucson, Ariz. — here, five Mexican folk musicians play and dance and then climb a 100-foot pole before four return to the ground, unwinding the ropes that hold them as they go. The fifth person remains at the top of the pole playing. The set opener gave the piece a fluttering feel one imagines comes when they watch these musical daredevils come down the pole. When Malaby switched to tenor for the meat of the set, his tone took on big Coltrane-like feel that that was both beautiful and brawny.

Put together by the Portuguese label Clean Feed, this was the final of six sets that made up the fifth annual Clean Feed Festival New York May 7-9, before it moves on to Chicago May 14-15 for sets featuring Chicago locals including Jeb Bishop, Keefe Jackson and Jason Roebke, as well as some New Yorkers and Portuguese players. The Chicago Culture Center and The Hideout will both feature sets each night. Go here for set times and lineups. There will also be Clean Feed Festivals in Utrecht, Netherlands and Ljubjana, Slovenia this year, as well.

The Lisbon-based label started out in 2001 as an outlet for some creative but lesser known Portuguese players like the Red Trio and Tetterapadequ (who both played in New York) as well as some slightly more established international ones like New Yorkers Malaby, Erik Friedlander, Marty Ehrlich and many others. Not much has changed, but now the label has more than 180 stylishly designed titles under its belt.

On a par with such American avant-garde jazz labels as Aum Fidelity, Pi Recordings, Cryptogramophone, Tzadik and few others, Clean Feed has quickly become a beacon of improvisational jazz. The label has regularly been recognized in recently years for its work by such in-the-know organizations as Allaboutjazz.com and the Jazz Journalist Association, where it is currently one of five labels nominated for “label of the year” at its 2010 Jazz Awards.

Last Sunday, the label had a small table set up in the back that featured works by Malaby and many others who played the festival. After the set, people milled around the table, energized by the music and looking for a souvenir to bring home. Standing outside afterward, even Malaby himself was revved up, talking excitedly as if he was still at his horn on stage.

Chicago Reader preview on the CF Chicago Fest by Peter Margasak

Foreign Investment
The Chicago jazz scene gets a vote of confidence from Portugal’s Clean Feed Records.

Music festivals are thick on the ground in Chicago these days, from summer behemoths like Taste of Chicago and Lollapalooza to niche events like the Neon Marshmallow Fest and the Umbrella Music Festival. Record labels have gotten in on the action too, celebrating milestone anniversaries by presiding over lineups drawn from their rosters past and present: Thrill Jockey, Touch and Go, Bloodshot.

This weekend a jazz label is hosting yet another festival, but oddly the presenter isn’t Delmark, Southport, Atavistic, Blujazz, or any of the other Chicago imprints that support the city’s thriving jazz scene—it’s a label from Lisbon, Portugal. Over the past few years Clean Feed Records has emerged as one of the world’s most prolific, adventurous, and consistent outlets for forward-looking jazz and improvised music—it’s established such a gold-plated reputation that fans will buy anything it releases. Ken Vandermark, Charles Rumback, Jason Stein, and Lucky 7s are among the increasing number of Chicagoans with records on Clean Feed, and many others have served as sidemen for non-Chicagoans on Clean Feed sessions.

It might seem strange for all these locals to end up on the same overseas label, but given that Chicago’s jazz scene and Clean Feed Records both have high international profiles—and that few other labels anywhere in the world put out so many top-shelf albums of this sort of music—it was actually almost inevitable. For the inaugural Clean Feed Festival in Chicago, eight bands with connections to the label—including locals Locksmith Isidore, Herculaneum, and the Keefe Jackson Trio—will play Friday and Saturday at the Cultural Center, Heaven Gallery, and the Hideout.

Pedro Costa started Clean Feed in 2001, and in the past few years his catalog has surged to nearly 200 titles. About half his roster is from the States, and predictably most of those artists are New Yorkers; the label has already presented five festivals in New York City, the most recent just last weekend. Costa first came to Chicago in September 2009, visiting with a couple musicians who’d traveled with him to the previous New York fest.

“I loved the relaxed mood of everybody compared to New York. It has somehow a much more European feel, and a much less competitive lifestyle,” he says. “Chicago tends to be more and more an important center for this kind of music, with lots of connections to northern European countries like Sweden and Norway. It has one of the stronger scenes in the world today.”

Costa started thinking early last year about setting up a festival here. For help he turned to jazz drummer and Pitchfork Music Festival organizer Mike Reed. “Pedro had the idea of doing this last September, when they were doing one in New York,” says Reed. “I told him that he’d be getting a late start and it was kind of the worst time to do it because there was already so much stuff happening already.” Reed suggested May, because it would be in advance of the busy summer season.

Reed doesn’t even have any recordings on Clean Feed. “I just can’t say no sometimes,” he says. “Chicago has its players and its scene and its own identity, but it also remains a welcoming place to other people out there.” Plus, as he sees it, helping out visitors can pay off for Chicago musicians when they travel to other countries.

Costa also owns a record shop in Lisbon called Trem Azul (“Blue Train”), which breaks even, and a distribution company that turns a modest profit. He supplements his income by producing about 40 jazz concerts annually in Portugal and across Europe, and that allows him to run Clean Feed as a labor of love—that is, in the red. The label expects to lose money on this festival, just like it does in New York: it’s helping cover the artists’ fees, so they’ll get paid more than just door charges or donations would allow.

For Costa, though, the event is a different kind of investment, and he’s happy with the returns he’s seen so far in New York. “The results have been great,” he says. “We’re trying to create this family spirit about the label and musicians. It’s also a great way to keep in touch with our people, musicians, and audiences.”

friday14
Chicago Cultural Center, Preston Bradley Hall 78 E. Washington, 312-744-6630 

6:30 PM Keefe Jackson Trio Despite mad skills as a soloist, local reedist Keefe Jackson has sometimes been tentative and disappointing as a bandleader—when calling the shots for the sextet Fast Citizens and the big band Project Project, he’s failed to live up to the potential suggested by his powerful, elastic improvisations. But on the new Seeing You See (Clean Feed), where he leads a quartet with trombonist Jeb Bishop, bassist Jason Roebke, and drummer Nori Tanaka, he finally has the compositions and the structural focus to do justice to his playing. It’s a huge leap for him. He’s written ten sturdy postbop vehicles—swinging, bluesy, elegant, and wide open—whose extended solos are stoked by rhythmic variations and terse interjections from the rest of the group, and for lengthy passages Jackson and Bishop play off each other with preternatural grace. The band will be a trio tonight; Tanaka, a former Chicagoan, has moved back to his native Japan and cut this session during a brief return visit in April 2008.

7:30 PM Ingrid Laubrock, Kris Davis, and Tyshawn Sorey The lineup of this New York trio is mighty intriguing, but its first album, Paradoxical Frog (Clean Feed), is so new I wasn’t able to hear it by press time. On recordings under his own name, versatile and open-eared drummer Tyshawn Sorey merges minimalist rock with Morton Feldman-style pointillistic abstraction, and he wields immense power whether he’s swinging madly or tumbling free of tempo or pulse. Pianist Kris Davis has made a series of excellent albums for Fresh Sound New Talent—the latest is the 2008 quartet outing Rye Eclipse, with saxophonist Tony Malaby—where she likewise connects driving mainstream jazz with idiosyncratic and tempestuous improvisation. And terrific saxophonist Ingrid Laubrock, a German who’s been based in New York for the past few years, has no trouble navigating between cosmopolitan postbop and the brainy, turbulent free jazz she kicked up on the excellent 2008 trio album Sleepthief (Intakt); this is her Chicago debut.

Hideout 1354 W. Wabansia, 773-227-4433 or 866-468-3401, $12

9:30 PM Herculaneum No Chicago outfit embodies the connections between the city’s jazz and rock scenes like Herculaneum, led by drummer Dylan Ryan—whose other projects include Icy Demons, Bronze, and Michael Columbia. Saxophonist Dave McDonnell, Ryan’s bandmate in Michael Columbia, also cofounded Bablicon; flutist and reedist Nate Lepine has played for Cursive, Manishevitz, and Head of Femur, among others. But they’re not just farting around with jazz when they don’t have rock shows to play, and they prove it with their latest album, the superb Herculaneum III (Clean Feed). Ryan’s tunes have never been more elegant, and his resourceful arrangements make the band sound much larger than it is—which is saying something, since the current lineup is a sextet, rounded out by trombonist Nick Broste, trumpeter Patrick Newbery, and bassist Greg Danek. The four frontline players all make excellent use of their solo space—particularly the hot-blowing McDonnell, who’s something of a wild card, and Broste, who’s got a fat tone, a lyrical style, and a broad knowledge of the instrument’s history in jazz. But just as rewarding (and more impressive) is the dense ensemble writing, which not only helps propel the soloists but gives each piece a multifaceted richness, with different sections in the same tune drawing on traditions as disparate as postbop and contemporary classical. Herculaneum also plays Thu 5/13 at Quenchers and Fri 5/14 at Reckless Records on Milwaukee.

10:30 PM Luis Lopes, Jeb Bishop, and Josh Abrams On last year’s What Is When (Clean Feed), Portuguese guitarist Luis Lopes pushes his sound into overdrive—his tone is taut and saturated, almost psychedelic, even when it’s not distorted—but as on his 2008 debut, he doles out notes in measured, thoughtful doses, whether his style is clean and lyrical or dirty and choppy. I’ve only heard Lopes leading two very different groups—on What Is When he’s joined by American bassist Adam Lane and Israeli drummer Igal Foni—so I can’t predict what he’ll do in this trio with trombonist Jeb Bishop and bassist Josh Abrams.

saturday15
Chicago Cultural Center, Claudia Cassidy Theater 78 E. Washington, 312-744-6630 

6:30 PM Memorize the Sky As the excellent trio Memorize the Sky, reedist Matt Bauder, bassist Zach Wallace, and percussionist Aaron Siegel emphasize ensemble interplay: despite their hovering, hypnotizing sound, there’s way too much forward movement and shifting sonic detail on their 2008 album In Former Times (Clean Feed) for it to qualify as drone music. Sometimes the skittery sounds Siegel creates by running objects across the heads of his snare and bass drums—he lays the latter flat like a tabletop instead of using a standard kit setup—are so frenetic they feel almost static, hanging in the air alongside Bauder’s beautifully striated long tones. At other times Siegel plays cymbals and other pieces of metal with a bow, creating keening, resonant shimmers, while Bauder carefully places a series of disconnected notes. The forthcoming Creeks (due on Broken Research late this summer) leans heavily on fluttering reeds and chirping analog synth, and the instruments are electronically processed so that they echo, loop, dilate, and accelerate; the two long pieces that result are the band’s most intricate and entrancing yet. This is Memorize the Sky’s first performance in more than a year.

7:30 PM MI3 Founded in Boston, this veteran trio—pianist Pandelis Karayorgis, bassist Nate McBride, and drummer Curt Newton—hasn’t played too often since McBride moved to Chicago in late 2004. Their repertoire mixes material by the likes of Lennie Tristano, Andrew Hill, and Thelonious Monk with Karayorgis’s own knotty tunes, which bear the influence of those original thinkers; no matter what the song, MI3 approach it with clarity of purpose, a deep rapport, and a fierce streak of unpredictable individuality. On Free Advice (Clean Feed, 2007) their alert interplay rolls along atop jagged rhythms that occasionally manage to swing, and Karayorgis’s idea-packed but spacious improvisations bristle with geometric abstraction and melodic zigzags. Betwixt (Hatology, 2008) changed direction slightly, with Karayorgis switching to Fender Rhodes and the repertoire leaning more heavily on covers, this time by Monk, Sun Ra, Misha Mengelberg, Wayne Shorter, and others. I’m eager to hear what’s next.

Heaven Gallery 1550 N. Milwaukee, second floor, heavengallery.com, donation requested

9:30 PM RED Trio Pianist Rodrigo Pinheiro, bassist Hernani Faustino, and drummer Gabriel Ferrandini, aka Lisbon’s RED Trio, forego tunes entirely to improvise freely, sometimes without any fixed pulse at all and never with anything more than an implied meter. Their recent self-titled debut for Clean Feed is a febrile mix of nubby textures, terse melodic utterances, and pinballing multilinear improvisation. Pinheiro frequently alters the tone of his piano by placing objects inside it or damping strings by hand, turning it into more of a percussion instrument, and his bandmates focus on atomized particles of music rather than slow-growing lines—their rigorously tactile sounds and gnarled phrases vanish as quickly as they emerge. This is the group’s Chicago debut.

10:30 PM Jason Stein’s Locksmith Isidore This trio led by local bass clarinetist Jason Stein—one of the few improvisers who sticks exclusively to that instrument—pushes against the boundary between composition and improvisation. The aim doesn’t seem to be to erase the border, though, but rather to sneak across it: they improvise as through they’re trying to sound like they’re playing a tune, and they play a tune such that you could mistake it for an improvisation. Stein, Chicago bassist Jason Roebke, and New York drummer Mike Pride are better than ever on their forthcoming third album, Three Kinds of Happiness (Not Two), aiming for a more swinging jazz feel. No one’s going to confuse Locksmith Isidore with a Benny Goodman trio, but compared to the squeaky, aggressive abstraction of their first two records, which were both for Clean Feed, the new one is warm, tender, and fluid. Though Pride is known as a wild extrovert, here his playing is gentle and buoyant; Roebke is his usual reliable, flexible self.  
http://www.chicagoreader.com/gyrobase/clean-feed-festival-chicago-avant-garde-jazz/Content?oid=1815127&storyPage=2

Clean Feed Fest Chicago May 14th and 15th


Clean Feed Fest – Chicago 2010
May 14th to 15th

Every plant must grow. This year the Clean Feed Festival reaches Chicago after 5 editions in New York. The interest manifested by the New York audiences in relation to the music released, and staged, by the Portuguese jazz label Clean Feed is more than a sufficient motive to want more, and here we are bringing to Windy City a bit of the enthusiasm lived now in Portugal in what concerns jazz and improvised music. The program of this festival may include local Clean Feed musicians but also from New York and Lisbon, with it one can get an idea of the Clean Feed work. With more than 180 titles already released and the fact that Clean Feed was choosed by the online magazine All About Jazz as one of the five more important jazz labels in the world since 2007, this is the right moment to be ambitious. Or even more ambitious than we were when we proposed ourselves in 2006 to organize this event in the capital of jazz. We invite you to join us in this celebration, to enjoy the music and to try some traditional Portuguese products we’re bringing with us specially for you. Yes, jazz comes always with a surprise. Write it in your agenda: May 14th and 15th, Clean Feed will be right at your doorstep.

May 14
The Chicago Cultural Center 78 E. Washington
Preston Bradley Hall
6:30 pm

Set 1: Keefe Jackson Trio “Seeing you See”
Set 2: Kris Davis / Tyshawn Sorey / Ingrid Laubrock “Paradoxical Frog”

Each Set 45 minutes

May 15
The Chicago Cultural Center 78 E. Washington
Claudia Cassidy Theater
6:30 pm

Set 1: Memorize the Sky “In Former Times”
Set 2: Mi 3 “Free Advice”

Each Set 45 minutes

May 14
The Hideout 1354 W. Wabansia
9:30 pm

Set 1: Luis Lopes / Josh Abrams / Jeb Bishop
Set 2: Herculaneum “Herculaneum III”

May 15
Heaven Gallery, 1550 N Milwaukee, 2nd Floor
9:30 pm

Set 1: RED Trio + Guest “RED Trio”
Set 2: Jason Stein’s Locksmith Isidore “Three Less Than Between”
Each Set 50 minutes