Cash only, except when it’s free
Cash only, except when it’s free. Though there is always incredible art taking place in Chicago, what’s even more remarkable is that so much of it is available for free. Every Friday from 5-7:30pm, Chris Foreman- a truly magnificent Hammond B-3 organ player- performs jazz and soul standards at the Green Mill without a cover charge (though any self-respecting fan of music would contribute something to bucket on top of the keyboard before leaving…). Coupled with the atmosphere of the Mill, it’s an experience that doesn’t exist anywhere else, yet- in Chicago- it can be experienced on a weekly basis for free; kudos to owner Dave Jemilo for making this possible.
The Corbett vs. Dempsey Gallery delivers a new art exhibition on a near monthly basis, and all shows are free to the public: Tuesday-Saturday, 10am-5pm. Currently they’re presenting two stunning shows: “Albert Oehlen & Kim Gordon” (https://corbettvsdempsey.com/exhibitions/albert-oehlen-kim-gordon/) along with “Nothing Is: Sun Ra and Others’ Covers” (https://corbettvsdempsey.com/exhibitions/nothing-is-sun-ra-and-others-covers_cvsd/); both continue through March 1st. But there’s more. In addition to these exhibitions, Corbett vs. Dempsey also puts on regular events, also free, that are phenomenal. For example, this past December they presented the “Tandem Book launch: Matthew Goulish and Ken Taylor” (featuring poet Ed Roberson)
[https://corbettvsdempsey.com/events/tandem-book-launch-matthew-goulish-and-ken-taylor/]
and the “William Parker Solo Concert & artist talk” (https://corbettvsdempsey.com/events/william-parker-solo-concert/).
Yesterday- Saturday, February 16- I took part in a presentation by German writer and curator, Markus Müller, about the essential FMP label which was helmed by Jost Gebers and Peter Brötzmann for decades, and that Markus is now archivist for (https://corbettvsdempsey.com/events/markus-m%C3%BCller/). After being asked to perform something connected to FMP, I decided on a composition by Albert Ayler because Brötzmann created his group Die Like A Dog in tribute to him. I picked “Love Cry,” a powerful and beautiful piece that I presented at solo concerts during the Bush Jr. years, and which will return to my repertoire while the current administration is in power. After Markus’ fascinating talk, which focused on the financial and bureaucratic realities for Gebers of running FMP, John Corbett led a discussion that included Markus and I about how FMP, and particularly Peter Brötzmann, impacted and intersected with the Chicago music scene starting in the mid 1990s which led to the formation of his Chicago Tentet.
Also on Saturday, John moderated a panel discussion at the symposium, “Between Sound and Sight: Mapping the Sonic Imprint of Charles White’s Vision” (https://events.uchicago.edu/event/244376-between-sound-and-sight-mapping-the-sonic-imprint), an event held in conjunction with a performance by Gerald Clayton of his composition, “White Cities”, a musical tribute to Charles White. Entitled, “Sounds of the Black Archive: Charles White’s Contributions to Film, Television, and Music Media”, the panelists included Damon Locks, Cauleen Smith, and White’s son, Ian White; who opened the event with a fascinating keynote speech about Charles White’s history and how his work cross-pollinated with the mutually supporting Black creative community over many decades. I hope that the conversation was recorded and will be archived because the information and insights advanced were priceless. Yet, for those who could attend, this talk- like the concerts by Chris Foreman, the exhibitions and events at Corbett vs. Dempsey- was also free to attend. My thanks to Kate Dumbleton and the rest of The Hyde Park Jazz Festival team, the South Side Community Art Center, U of C Presents, and the Logan Center for making this celebration of the awe-inspiring artist and teacher, Charles White, possible.
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