Videos

My Breast Cancer Journey Part 30: My Twin Sister is Halfway Done with T-DM1 & October is Breast Cancer Awareness Month!Sister Christianon October 1, 2020 at 9:00 pm

A Daily Miracle

My Breast Cancer Journey Part 30: My Twin Sister is Halfway Done with T-DM1 & October is Breast Cancer Awareness Month!

Read More

My Breast Cancer Journey Part 30: My Twin Sister is Halfway Done with T-DM1 & October is Breast Cancer Awareness Month!Sister Christianon October 1, 2020 at 9:00 pm Read More »

Was Freud Right About America?nspiraon October 1, 2020 at 9:09 pm

A Deeper Look

Was Freud Right About America?

Read More

Was Freud Right About America?nspiraon October 1, 2020 at 9:09 pm Read More »

Virtual Great American Beer Festival DetailsMark McDermotton October 1, 2020 at 9:45 pm

The Beeronaut

Virtual Great American Beer Festival Details

Read More

Virtual Great American Beer Festival DetailsMark McDermotton October 1, 2020 at 9:45 pm Read More »

Maura Walsh, creator of Tiny Guide to Chicago ArtsJamie Ludwigon October 1, 2020 at 11:00 am

PHOTO BY MAURA WALSH

Chicago native Maura Walsh is a visual artist and concert enthusiast. This year she raised $37,000 for local music venues battling the financial hardships of the pandemic with Our Tiny Guide to Chicago’s Best Music Culture Spots, which she created in 2019. She’s also working with nonprofit fundraising initiative Support Chicago Arts to launch Tiny Guide to Chicago Arts, which will help an even wider range of local performance spaces.


I remember being a teenage girl, learning how to drive, and sneaking out to go to concerts–I’d tell my dad I was going to my friend’s house. Obviously the Bottle and Double Door were always 21 and over, but I remember calling them begging them to let me in and saying, “I’m not going to drink, I just want to see the show.” So when I turned 21, it opened up the whole world. I usually went alone, which my dad would be mortified to hear, but I wasn’t going to let not having anyone to go with stop me. It was just so important to my well-being to see live music.

I had a lot of hardship and sadness in my childhood, and for some reason being in a crowded, tiny music venue where there were lots of the people who probably felt just like me was really life altering. I really don’t know if I’ve ever felt happier than I do at a show.

I tended to gravitate towards heavier music, like punk rock, hardcore, metal, industrial, and experimental shows, but I always tried to keep an open mind. Sometimes my dad would say, “I want to see this blues guitarist,” and I’d go with him. I just think it’s really important to our mental health to share creativity and to be physically present with creativity.

Music venues are the kind of places where people could say, “Oh, this isn’t super important right now,” but so many people have lost their jobs, their livelihoods, or their whole lives they put into these businesses. And they’re so important. I remember some lady commented on one of my projects like, “Shouldn’t you be helping build houses for homeless people?” These places get written off as “Oh, they’re just a bar” or “They can put their programs online,” but they’re more than that, and we’re going to lose them if someone doesn’t help.

Our Tiny Guide to Chicago's Best Music Culture Spots - COURTESY MAURA WALSH

A couple of years ago my partner and I were at the Chicago Diner, and I was talking about this little sketchbook thing I was drawing. We thought, “Oh, it’d be cool to make a little guide to places we would recommend to a friend who was coming to Chicago and wanted to check out the live music scene.” I drew a small little book with about 30 music venues, record stores, and a couple of places to eat and drink. I posted a video of me opening up the book on Facebook when it was done. Somehow I woke up the next morning and had all these people begging me for a copy. I made around 150 copies, which sold out immediately, and I made another edition, which also sold out. And then I sort of dropped it, because I got busy with other things.

And then COVID-19 hit. Last year, my partner and I kept track of how many shows we went to, and it turned out we went to 53 concerts in 2019. We’d purchased a bunch of tickets for 2020, and we started getting refund notifications. A random thought popped into my head, “Oh, I have this drawing. I can post it and give the money to help show some support.” I thought I would just raise a little bit, but word spread, and after just a few months I raised about $37,000 to give to these venues.

So that was that. Then recently I got an e-mail from this great person named Bridget Gunden at Support Chicago Arts, asking if I wanted to collaborate with them to help out theaters and other spaces in Chicago that are also hurting.

Thirty-seven thousand dollars is a lot, but divide that by 30 spaces–it’s not that much money. So we have to keep going. With Support Chicago Arts, we came up with a new Tiny Guide, which includes 21 spaces more focused on the performing arts and theaters. They are donating 100 percent of the profits to the Save Our Stages nationwide initiative. I’m hoping these sorts of projects will inspire others to jump up and help, and continue to ask their legislatures to make major changes and to support our stages. Our city is just exploding with creativity and music and art, and all of these truly irreplaceable spaces are in danger of closing.

When I started my first guide, I was trying to figure out, “OK, I want to draw these little places, but how do they fit together?” All of these places make up the whole culture. It was about finding out how they all fit together and letting the architecture of the building find its place in the drawing. There’s no hierarchy, there’s no implied importance, and all these places are literally touching each other and connected; they’re physically supporting each other and Chicago. I’m kind of developing that a little bit more, and I’m working on some secret, exciting new things.

Artwork from both editions of the Tiny Guide, with the current Support Chicago Arts collaboration below - COURTESY MAURA WALSH

You know how you hear about small rivalries between certain bars or places? That’s silly. We’re all literally in this together–we’re all fighting. So this is like I’m forcing you together and connecting you, in a way. But it’s from a place of love. I think that’s why this format works so well for these drawings–these places are connected whether they like it or not.

A couple of months into the pandemic I noticed some venues were also taking their time and resources to support the Black Lives Matter movement, or doing food and supply drives. These are organizations in the midst of not knowing if they’re going to stay open, and I think that in itself is an incredible gesture of what Chicago should stand for: “We’re gonna help you out even when we are hurting.”

At the beginning of the pandemic, I was thinking, “Oh, people could frame this drawing and put it on their wall, look at these places, and think, ‘I can’t wait to go back there when it’s safe.'” We’re not going to lose them all, necessarily, but we have to remember them and support them. When things are back to normal, if they are ever back to normal, we can’t take this for granted. v

Read More

Maura Walsh, creator of Tiny Guide to Chicago ArtsJamie Ludwigon October 1, 2020 at 11:00 am Read More »

Pianist Matthew Shipp breaks down the essentials of his trio’s sound on The UnidentifiableBill Meyeron October 1, 2020 at 1:00 pm

Matthew Shipp can’t have had his own playing in mind when he named his latest record The Unidentifiable. With his powerful command of the grand piano’s lowest notes, his adroit manipulation of its sustain pedal, and the complex harmonies nurtured by his prodigious technique, he obtains a massive and instantly recognizable sound. The New Yorker can create extraordinary space and movement within a dense sonic field, and it’s made him an essential accompanist to saxophonists such as Ivo Perelman and David S. Ware. But while The Unidentifiable has plenty of weighty moments, it balances them with exploratory and analytical ones. On the brooding “Dark Sea Negative Change” and the more abrupt “Virgin Psych Space 2,” Shipp and the rest of his trio–bassist Michael Bisio and drummer Newman Taylor Baker–lay bare the mechanics of their interactions, which rely on melodic counterpoint and rhythmic undertow to summon intrigue and tension. And the celebratory Latin groove of “Regeneration” proves that Shipp, who’s about to turn 60, is still eager to investigate new ground and make it his own. The title track actually has some pretty clear antecedents, which is hardly a given with a player as idiosyncratic as Shipp: its solemn opening and mercurial shifts of attack evoke John Coltrane’s classic quartet, and the sudden gaps in Shipp’s playing recall Thelonious Monk. Perhaps what he intends to call “unidentifiable” is the thing he heard in those masters and has achieved in his own way–the elusive spark that makes possible the lifelong pursuit of a singular but continually evolving creative voice. v

Read More

Pianist Matthew Shipp breaks down the essentials of his trio’s sound on The UnidentifiableBill Meyeron October 1, 2020 at 1:00 pm Read More »

The Hyde Park Jazz Festival takes it to the streetsBill Meyeron October 1, 2020 at 6:15 pm

Thaddeus Tukes and Mike Frasier at the mouth of the pedway under Lake Shore Drive - MICHAEL JACKSON FOR CHICAGO READER

When the Hyde Park Jazz Festival’s executive and artistic director, Kate Dumbleton, spoke to the Reader in August about the fest’s efforts to adapt to COVID-19, she sounded hopeful that some version of the event would take place during its traditional time slot on the last weekend of September. Given that Chicago’s Department of Cultural Affairs and Special Events had already replaced an entire season of live outdoor programming with prerecorded video broadcasts–and that no one knew if, when, and how hard a second wave of COVID infections would hit the city–that hope seemed wildly optimistic. But the virus held off, and the festival did hold events both its usual days.

Of course, none of those events was anything like last year’s festival, which featured big outdoor stages and a strip of merch booths on the Midway Plaisance, indoor shows at small venues, and a climactic concert by a large ensemble inside Rockefeller Chapel. On Saturday, six mostly masked bands livestreamed themselves playing to empty seats in the auditorium of the Logan Center for the Arts on the University of Chicago campus. And on Sunday, 18 small, brief concerts took place in parks, pedways, and sidewalks between 40th and 61st Streets.

It’s been more than six months since the start of lockdown, and streamed musical performances–the most widespread adaptation to the shuttering of venues–continue to vary wildly in professionalism, sound quality, and creativity of presentation. You might end up watching someone who’s forgotten to activate his phone’s auto-rotate function play guitar on his couch, or you could get a set with the production values of a prerecorded music video. But in any case, it’s not the same as seeing live music in person.

The Hyde Park Jazz Festival’s response to this unsatisfactory set of circumstances was to have bands perform live in an empty theater, with concert-level lighting and sound. Unlike many livestreams, the sets were not archived–you could only hear the music while it was being played. In that sense, they were a little more like real concerts.

In recent years the HPJF’s programming has struck a careful balance: on one hand, user-friendly music suited to an end-of-summer picnic with the neighbors, and on the other, new work that reflects jazz’s contemporary musical, social, and political advances. Cost and travel restrictions limited the 2020 festival to mainly local bookings, but it could still present a cross section of comforting and challenging fare.

On Saturday, the Alexis Lombre Quartet opened the day of livestreams with a set that fulfilled the young singer-keyboardist’s pledge to “keep the soul in music alive.” Her pretty singing and airy instrumental exchanges with second keyboardist Jahari Stampley made for pleasant background fare, but the platitudinous quality of her lyrics did little to reward closer listening.

Alto saxophonist Greg Ward and his band Rogue Parade put weights down on both sides of the scale, luring in listeners with the leader’s bright melodies and then spinning their heads with metrical and tempo shifts and a guitar-heavy sound that recalled vintage jazz-rock fusion. Charles Heath’s quartet underscored the drummer’s association with Ramsey Lewis with a Heath original whose groove echoes “The ‘In’ Crowd,” but they devoted most of their set to robust performances of mid-20th-century standards such as “A Night in Tunisia” and “Yesterdays.”

Dee Alexander and her band the A-Team included a new song called "Protest" in their livestreamed set. - MICHAEL JACKSON FOR CHICAGO READER

Singer Dee Alexander and her four-piece, the A-Team, jolted attention back to the present moment with “Protest,” a newly written song addressing racist killings and the rage and grief they cause. But while the words were full of pain, the quartet’s mercurial improvisations embodied the think-on-your-feet flexibility that helps protesters survive violent police repression, and Alexander’s freewheeling vocalizing supplied plenty of transcendental thrills.

Trumpeter Marquis Hill has been based in New York since 2014, but he grew up on the south side, and his Circle in the Round quintet was designed to celebrate the local talents who filled out the lineup. After a sternly lyrical opening duet by Hill and drummer Dana Hall, members of the group started leaving the stage to sit out, then returning to play again–only bassist Junius Paul stayed throughout. Pianist Michael King and saxophonist Irvin Pierce each led a subset of musicians through one of their own tunes, but the stylistic discontinuities involved in going back and forth between brisk modern jazz and smooth balladry proved frustrating.

Saturday’s closing set, by the Silent Hour, was far more cohesive. The group comprises drummer Mike Reed, cellist Tomeka Reid, and vibraphonist Jason Adasiewicz (all members of Reed’s Loose Assembly), for this show joined by guests Russ Johnson on trumpet and Jakob Heinemann on bass. They delivered a series of tone poems illuminated by glowing trumpet-cello harmonies and rendered mildly psychedelic by Adasiewicz’s electronic effects.

After Saturday delivered a professionally mounted cross section of jazz to everyone’s favorite screens, Sunday gave people willing to leave the house a chance to enjoy something that’s been in scarce supply these past seven months–musicians playing in front of them. Granted, these musicians had to contend with (or feed upon) all the surprises that an uncontrolled outdoor environment presents, but the late September weather was perfect–in most years (2019 definitely excepted) it’s a reason unto itself for attending the festival. The organizers’ strategy–short sets from small ensembles in unexpected spaces–not only kept most crowds to a size that facilitated social distancing, but also encouraged people to spend time taking in spots they might not have known about and may well want to revisit.

The sites extended beyond the boundaries of Hyde Park-Kenwood to Oakland on the north and Washington Park to the west. Singer Maggie Brown, who’s played the festival every year since it was founded in 2007, brought the traditional Midway Plaisance vibe of folding chairs and friendly faces to the pavement outside the Green Line Performing Arts Center, a community theater space near the train tracks.

Fred Jackson Jr. and Avreeayl Ra at the Oakland Museum of Contemporary Art - MICHAEL JACKSON FOR CHICAGO READER

Tenor saxophonist Fred Jackson Jr. and drummer Avreeayl Ra played blues-tinged, open-ended improvisations inspired by Wayne Shorter and Julius Hemphill in the Oakland Museum of Contemporary Art, which despite its name isn’t a building but rather an open-air green space where neighbors’ vegetable gardens sit beside wooden sculptures by the late Milton Mizenberg Jr. Another saxophone-drums duo, Nick Mazzarella and Quin Kirchner, played in Madison Park, a boulevard tucked away in a residential neighborhood. Surrounded by greenery and apartment buildings, their music felt like a winding, good-natured conversation between friends.

Nick Mazzarella and Quin Kirchner in Madison Park - MICHAEL JACKSON FOR CHICAGO READER

The Russ Johnson Quartet played the festival’s southernmost show, on a stretch of pavement where the 61st Street Farmers Market sets up most Saturdays till the end of October. Johnson, a trumpeter who teaches at the University of Wisconsin-Parkside but plays Chicago as often as his academic schedule and the pandemic allow, explained to the audience that he’d had to find a new alto saxophonist on two days’ notice. Lenard Simpson not only took the gig–he invested the intricate unison lines of Johnson’s compositions with joyous effervescence that contrasted satisfyingly with the music’s muscular grooves.

The Russ Johnson Quartet set up near the usual site of the 61st Street Farmers Market. - MICHAEL JACKSON FOR CHICAGO READER

Damon Locks and Ken Vandermark at the Iowa Building - MICHAEL JACKSON FOR CHICAGO READER

Early in the afternoon, reedist Ken Vandermark and Black Monument Ensemble bandleader Damon Locks set up within the arches of the Iowa Building, a pavilion built for the 1893 World’s Columbian Exposition. Old architecture framed spontaneous new sounds as their duo of tenor saxophone and electronics collaged elongated reed tones, synthetic bird sounds, and beats looped from old records.

Around the corner a couple hours later, vibraphonist Thaddeus Tukes and tubaist Mike Frasier set up in the mouth of a pedway tunnel to play a much more traditional set to a semicircle of listeners in folding chairs. While their instrumental lineup was unconventional, they played swinging standards such as “Autumn Leaves” and “What Is This Thing Called Love?” with genteel grace. But then, halfway through a winsome performance of Charlie Chaplin’s “Smile,” the sounds of brass and drums advanced upon the duo–a small marching band playing “When the Saints Go Marching In.” Tukes pushed his vibes out of their way, and Frasier joined in.

Thaddeus Tukes and the Chicago Freedom Ensemble on the lakefront - MICHAEL JACKSON FOR CHICAGO READER

The crowd of young musicians led Tukes, Frasier, and the audience through the pedway under Lake Shore Drive and up a rise on the other side, setting up on a berm by the lakefront. Tukes introduced them as the recently formed Chicago Freedom Ensemble, then conducted the group in a set that included hymns associated with the civil rights movement, bebop tunes, and Marvin Gaye’s “What’s Going On.” They pulled off a creditable imitation of the New Orleans marching-band style–and though a lot of bad feelings have built up as we all endure an uncontrolled pandemic and our government’s increasingly contemptuous indifference to its own racist violence, that music was just the thing to lift everyone out of that hole, at least for a moment. v

Read More

The Hyde Park Jazz Festival takes it to the streetsBill Meyeron October 1, 2020 at 6:15 pm Read More »

Chicago Bears vs. Indianapolis Colts: Inside some shocking numbersRyan Heckmanon October 1, 2020 at 11:00 am

Read More

Chicago Bears vs. Indianapolis Colts: Inside some shocking numbersRyan Heckmanon October 1, 2020 at 11:00 am Read More »

Chicago Bears: Could Dak Prescott be an option in 2021?Usayd Koshulon October 1, 2020 at 12:00 pm

Read More

Chicago Bears: Could Dak Prescott be an option in 2021?Usayd Koshulon October 1, 2020 at 12:00 pm Read More »

Chicago Bears: Artavis Pierce could put Pace in a bindPatrick Sheldonon October 1, 2020 at 1:00 pm

Read More

Chicago Bears: Artavis Pierce could put Pace in a bindPatrick Sheldonon October 1, 2020 at 1:00 pm Read More »

Chicago Blackhawks need to make a draft day tradeVincent Pariseon October 1, 2020 at 2:00 pm

Read More

Chicago Blackhawks need to make a draft day tradeVincent Pariseon October 1, 2020 at 2:00 pm Read More »