Los Hombres Perdidos / Las Guitarras de España @ City Winery, March 21 '13

My family and I enjoyed an evening of genre-defying music provided by Los Hombres Perdidos and Las Guitarras de España at City Winery in the West Loop restaurant district of Chicago. I initially classified these groups as world music fusion ensembles, but I dislike the phrase 'world music', and fusion music has unfavorable connotations to it. Genre-defying and cross-cultural collaboration are better descriptions of what we enjoyed that night. 

City Winery opened about 6-8 months ago, and hails originally from New York City. They make their own wine, which is stored in enormous vats at the front of the restaurant, and are housed in a beautiful industrial-styled loft restaurant, with high ceilings, rustic but elegant decor, and dim golden lighting. Despite the lovely setting, I felt as though the place lacked heart. It seemed too corporate, presenting itself as more of a cash cow than an intimate and soulful wine bar.

We were forewarned to not order food at City Winery because the kitchen is apparently struggling. Entrees are often unavailable, service is friendly but not efficient (perhaps due to the closeness proximity of the tables to one another - navigating such a maze without tripping or making a mess can't be easy for a server), and the food is supposedly sub-par. Nevertheless, we ordered a dessert plate of macaroons, and were, in fact, quite disappointed. So, don't order the food. Stick to their good wine list.

Los Hombres Perdidos consisted of talented musicians (drum set, bass, sax, trumpet, guitar, vocals), but frontman Colin Bunn's somewhat awkward stage presence unfortunately distracted from his solid guitar playing and generally tight ensemble. Las Guitarras de España blended flamenco, Indian, Cuban, and Spanish music together through a traditional flamenco combo (guitar, voice, and flamenco dancer) joined by tabla and veena, a difficult instrument that isn't commonly played. Saraswathi Ranganathan masterfully blended as well as virtuosically soloed on the veena, joining and interweaving with Carlo Basile's beautiful flamenco guitar playing. Wendy Clinard, flamenco dancer, added a physical and fiery dimension to the evening, with her energetic dance performances, and two special guests from Senegal performed on the kora, a 21-string West African instrument, as well as the talking drum, a percussive instrument that's played on one's shoulder, where pitch is manipulated by pulling on a cord that raises and lowers the timbre. The sonority was thrilling, with a rawness of emotion and a deep understanding on the part of the musicians of the musical styles they were sharing with one another. At one point, the  group of musicians on stage was so diverse, one could not help but smile and be proud of the musical and cultural melting pot that is Chicago. 

The Jordan Years / The Congregation / The Skinny @ Subterranean, February 1 '13

Nine of us piled into a five-seater car on a snowy, blistery night, and headed for the Subterranean for a fun show put on by The Jordan Years, The Congregation, and The Skinny. The Skinny was already playing when we arrived around 9:30 PM, and showcased skillful chemistry as well as the most complex songs of the night, with psychedelic rock chord progressions and clear jazz influences. All proficient musicians, they put on a good show but didn't need to employ any stage antics in order to do so, which I greatly appreciated. I wish there'd been a larger crowd to add some energy to the room.

The Congregation, led by Gina Bloom's powerful soul-inspired voice, reminded me of a raucous 60s soul/rock wedding band, the sort that gets everyone dancing. Some may take the comparison to a wedding band as an insult, but I write it as a true compliment - a band that can get everyone moving is always a good one. Sometimes, Bloom overpowered until the brass and sax would jump in, but perhaps this was due to the acoustics of the venue. She, along with guitarist Charlie Wayne, appeared as the musical centerpieces of the band. 

The Jordan Years also has its roots in soul, but with a darker sonority and more instrumental intricacy than most soul offers. Wes Restless, whose solid falsetto took me by surprise, had an impressive dynamic range and fine control over his chords. One of the best musicians that night was the organ/keys player, whose name I can't recall and is unfortunately not mentioned on their website. His solos were everything a good solo is - virtuosic, melodic, developed, and confident without trying too hard. 

The Subterranean is a laid-back, Chicago-styled neighborhood venue, with vintage dark wood, no pretension, lots of Big Ten folks, and cheap beer. There are three floors: the first is a hall for DJs and spinning, the second is at the main stage level with the main bar in back, and the third is a gallery with high ceilings, a smaller bar, and has good views of the stage and main floor. Acoustics aren't always the most balanced, but the stage isn't far up from the main floor, which is nice for bands and their fans. I would be careful if wearing heels/drinking while playing there; the twisty and narrow staircase to the green room looks perilous. 

Eastern Blok @ Katerina's, January 3 '13

My family somewhat spontaneously decided to listen to Eastern Blok, a world fusion jazz ensemble that was formed in Chicago in 2004. The group consists of guitarist Goran Ivanovic, sax/flute/perhaps- other-woodwinds-player Doug Rosenberg, bassist Matthew Ulery, and percussionist Michael Caskey. They played at Katerina's on West Irving Park, and we caught a few hours of their show. 

Selections included many original works written by mostly Ivanovic, and ranged from traditional Balkan-styled melodies with underlying innovative jazz chords to free jazz influenced jams. The music was evocative with a wide variety of emotions - Old World nostalgia, dance-like exuberance, melancholic, observant. Each player is an accomplished instrumentalist, and the group had a beautiful sound and chemistry together. It's a real treat to watch people intently listening to one another while on stage, a sign that they're in the present moment and committed to what they're playing. 

Katerina's is also an intriguing venue, with its deep red walls, elegant place settings, and great acoustics. It seemed as though many at the bar were regulars who came to hear good tunes often. We had some appetizers and chatted a bit with Katerina herself, a warm and eclectic lady. Catch Eastern Blok when you get a chance, whether it be through one of their many albums or a live show, and check out Katerina's if you're in the mood for good world music and jazz.