Alfonso Ponticelli & Swing Gitan @ Fizz

So the HotHouse (one of Chicago's coolest places/ ideas/ promoters) has been putting on some shows upstairs at Fizz. Since a friend suggested that I get on HotHouse's email list, I did so & found that the first email contained an invitation to see Alfonso Ponticelli & Swing Gitan. Reading the blurbs about the band, I thought to myself, "That sounds neat!" (This is hard-hitting music journalism here folks, try to keep up.) Comparisons to Django Reinhardt and a pretty cool self description, "It's a blend of the jubilant swing of early jazz with the feisty passion of gypsy music, plus a strong dose of guitar pyrotechnics and virtuosic improvisation" made me antsy to check these cats out.

Have you seen "Swing Kids" (pretty good flick if you're looking for a VHS to rent)? Its an early 90's movie about adolescents in Nazi Germany and their forbidden passion for jazz music. Django Reinhardt is basically the bees knees to these Nazis (rhyme time!) and for good reason.
Well, Alfonso Ponticelli plays his axe in a similar style but with a bit more international feel. Quick picking and jumpy tones really move the jazz along, but it's when the band harmonizes that the sound fills in. The Swing Gitan (I have no idea what a Gitan is) is composed of a fiddler, an accordionist, an upright bass and a rhythm guitarist. Each member of the band is incredibly talented and do their craft proud. As with most jazz shows (that I've attended) (read: 3), each was given several solos to showcase their mastery and none tripped up.

So, I've told you vaguely about their influences, the composition & talent of the band, and what movie you should watch the next time you want a night in. But what was the show like, you wonder. (Wonder!) Well, first off let me start with the venue. Fizz is a pretty alright bar, nothing to write home about though. The same goes for the upstairs, for the most part. Bar, stage, about 15 tables to sit at with some vaguely French posters and art on the walls. There is a nice little area for some dancing, if you happen upon a show with such effect on you. The tops about Fizz is the enclosed patio on the side of the building. Easily accessible via a doorway downstairs; there are comfortable couches, wooden tables and ashtrays pleasantly spaced about.

As for the theme or essence of the show, the ambiance if you'd prefer... it was engaging. Throughout each set, I bounced between two images; the first was picturing myself sitting at a bar sipping on Pernod and smoking a cigarette, in black & white. The second was dancing around a campfire under the open starts among a group of friends passing wine around, a typical gypsy scene. AP & the SQ have a very different sound than most hear on a regular basis, its refreshing and interesting. Basically I'll say this: If you take a gal to see Alfonso Ponticelli & Swing Gitan and she happens to be a cultural anthropologist... you better hope you don't have embarrassing underwear on.

Yonder Mountain String Band @ The Congress

The Congress Theatre is a spectacular old building with a regal air about it. Its aged atmosphere is noticeable from the first step into the spacious lobby, the theatre screams for big-band music, highballs, and bow-ties. Fred Astaire could put on an evening showcase if the lobby were given a once-over with some wax and a few new light bulbs. Inside the music hall a soft, yet menacing red-lit dome commands the ceiling and covers the dance floor. Bars within reach of most, empty bathrooms and a spacious upstairs balcony make for comfortable music venue. However, the round shape of the venue results in poor acoustics particularly in the upper balcony. Like, really bad. Stage banter, song lyrics, and intricate solos were lost in the crossfire of commotion.

YMSB consists of four guys playing stringed instruments. No drums, no brass. That said, their sonic options are limited; but they’re playing bluegrass. Each song was a grasp at foot-stomping, knee-slapping joy. A pair of spoons would be a dynamite accessory at a YMSB concert. Quick tempos and lightning-fast picking were the special of the night. The bass held the songs together and gave the band a platform. During each song the audience was treated to at least one solo performance typically on the banjo or mandolin. The guitar and upright bass were given chances to try and carry tunes, but it seemed tough to slow down the notes from the banjo/ mando background. Regardless, the band took little time for themselves onstage and jumped from one jam to another, the energy level was high throughout the first half of the evening. An extended set break left the audience restless (and in some cases, dozing in their seats) and expecting an electric second set. The author left after the 3rd song in.

YMSB plays an entertaining brand of feel-good bluegrass, but it may be best served under the stars and with a side of bourbon. Being confined indoors by October temperatures and $8 drinks is no compliment to such a vibe.

Review: Taj Mahal @ The Morse

Let it be clear first that this review is written from the perspective of a casual blues fan & a known-by-association-with-a-jam-band Taj Mahal supporter. That said, there will not be a set list posted or introspective perception of any songs played. Frankly, the author was looking for something to do on Friday night.

It’d be unfair to review this show without mentioning the spectacular venue within which it occurred. The Morse Theatre in Roger’s Park (located on Morse Avenue, 1 block east of the Morse Red Line stop) (read: paranoid honkys need not fear) was christened this weekend after an extensive reconstruction. From the marquee to the rafters and the bar to the bathrooms, the facilities are fantastic. It’s a small venue with a 299-person capacity, much of it on the dance floor penned behind tiny cocktail tables, with booths along the walls and a horseshoe balcony. The acoustics were adequate from floor in the front, though it may take a few shows for the sound engineer to get it just right. Keep an eye on the schedule up there, the venue is definitely worth a visit.

Taj Mahal is amazing. There it is; if nothing else in you feels stable these days, you’ve just been given a constant on par with the sunrise. After ambling on stage with the backing members of the Taj Mahal Trio, Mr. Mahal picked up his gee-tar, mumbled through a countdown and began the evening. The first several songs were traditional blues choices with foot-stomping tempos. Rough and smoky with a smooth finish, like one that has been revealing the oscillations of life for so many seasons; Taj spoke of his sorrows, his sins, and his dirty desires. Moving from his guitar to a keyboard, the theme switched into a band-heavy tune with an exceptional solo session by bassist Bill Rich. Soon after a couple songs on the keyboard, (glossing over these songs is only a byproduct of the author’s unfamiliarity with the artist & slight inebriation; be assured that each tune played was a choice selection from somewhere in his 40-year recording career) Taj then jumped on a banjo and got the crowd’s feet tapping once again. Closing out the evening, the trio played the most anticipated song of the evening for many in attendance, “Lovin’ In My Baby’s Eyes.” If you have a better half, do your relationship a favor & put this song on. Lock eyes and let the song move your feet. Where you end up at the end will exacerbate any previous notion of affection. Leftover Salmon covered with Taj on vocals on their “Nashville Sessions” album & young, drunk lovers gained an anthem.

As an addendum to the venue and musical review above, Taj Mahal’s stage presence is note-worthy. From start to stop, Taj infused his music with his performance and magnified each song’s mood. He used his face as effectively as his hands, carrying the tunes along and representing what his guitar was emoting. Two-stepping across the stage, smiling at girls, slapping his strung partner as if it were playing hard-to-get; each note moved through him from fingers to feet. Truly an entertainer and bluesman par excellence.