2009 GAPERS BLOCK READER SURVEY! Help us get to know you better & improve the site by filling out our survey — win tickets to Jesus Lizard @ Metro New Years Eve!

TODAY

Sunday, November 22

Search


Transmission
« Record Store Day, Saturday April 18, 2009 (Part 2) A Brief Manual on Understanding The Streeters »

Review Mon Apr 20 2009

Review: Kurt Elling @ The Green Mill

"Make me sound taller."

I'm sure not every sound engineer gets that as a request, but Saturday night it seemed apropos, as Chicago native Kurt Elling took the stage at the Green Mill, a space not known for having good sight lines when the place is at capacity. Well, not if you're shorter than six feet and change.

With showtime at 8pm, I got there at 7, after having a tasty dinner at Crew next door, and the room is three-quarters full already. At 7:30, admittance was being halted as apparently they'd hit the occupancy limit and are doing the "one person leaves means that one can come in" thing. Still, there are 10-20 people waiting outside for the rest of the night.

The cause for such an immense crowd can be traced to a couple of factors. As a regular host in weekly shows at the Green Mill, Elling enjoyed nice-sized audiences that only got larger and larger as he put out more and more product on the Blue Note label. Those weekly spots ended when he began to tour extensively overseas in 2006 or so. He also hasn't performed in Chicago proper since around early 2007, with last year's show at Ravinia with Ramsey Lewis was canceled. A steady demand and no supply makes fans very anxious. The Saturday show was the second night of his appearance, and I'm told Friday was just as full.

Piano virtuoso and Elling collaborator Laurence Hobgood, bassist Clark Sommers, and drummer Ulysses Owens provided the foundation for Elling and special guest saxophonist Ernie Watts, whose career has spanned four decades. Hobgood's first solo album, When the Heart Dances, is being released today.

Through two sets and a little under three hours, the standing room only crowd was treated to selections from Elling's last album, Nightmoves, as well as a few surprises (Steppin' Out, Golden Lady) and selections from his new project, which he says will be out in the summer.

Considering the demand, a $12 cover was a deal, and I spent three hours standing up, but enjoyed the music immensely. It's probably best if he not stay away too long again, if only for the sake of the growing number of people who want to hear him live.

Troy Hunter / Comments (0)

Add a Comment




Please enter the letter t in the field below:



Live Comment Preview


Notes & Tags

Items marked with a * are required fields. Please respect each other. We reserve the right to delete any comments borne out of douchebaggery or that deal in asshattery.

Permitted tags and how to use them:

To link: <a href="http://blahblahblah.com">Link text</a>
To italicize: <em>Your text</em>
To bold: <strong>Your text</strong>

ADVERTISEMENT

Feature Thu Nov 12 2009

She's Money

By Kara Luger

When talking musical influences with Helen Money, it's easy to forget her instrument of choice: cello. She references Bob Mould's Beaster, with its wall of sound and intense, thought-obliterating guitar work. She speaks of The Who and all the crazy rock bands she was exposed to in the '80s. "The stuff I like sounds like life or death," she reasons. And this coming from a woman with a picture of Jimi Hendrix taped to her cello case like he's a saint.

Read this feature »


Transmission on Flickr

Join the Transmission Flickr Pool.


About Transmission

Transmission is the music section of Gapers Block. It aims to highlight Chicago music in its many varied forms, as well as cover touring acts performing in the city.

Editor: Anne Holub, ash@gapersblock.com
Transmission staff inbox: transmission@gapersblock.com

Archives

 

Transmission Flickr Pool
 Subscribe in a reader.