Be-bop and post-bop groups may predominate in Chicago, but the less celebrated, traditional ensembles have hardly thrown in the towel.
Consider the Chuck Hedges Swingtet, which plays Monday nights at Andy’s on East Hubbard Street. Even among bands that stress ’30s and ’40s idioms, the Swingtet stands out. Led by one of the best clarinetists in the city, Hedges’ Swingtet not only revels in historic styles but also reaffirms their vitality and timelessness. Aggressive tempos, taut rhythmic swing, rambunctious solos-these are the elements that drive this ensemble.
Hedges leads the charge with his high-speed variations on vintage tunes, but these are more than mere exercises. Even in the most exhibitionistic of Hedges’ improvisations, he shows as much musical purpose and sensitivity as technical precision. Though some might argue that Hedges’ tone occasionally becomes a bit too sharp or acidic for the early-swing repertoire, the accuracy of his pitch and the musicality of his phrasing are beyond question.
On a recent Monday, Hedges brought out his complete arsenal, including quick repeated notes in a Bix Beiderbecke tune and fast-flying scale passages in the Gershwins’ “Liza” (taken at a potentially suicidal clip). For all the audacity of these readings, Hedges’ every sixteenth note sounded even, full and crisp.
If Hedges seemed a bit stingy when it came to offering ballads, the ones he presented made their point. The most effective was “Sweet Lorraine,” with the clarinetist producing a sweet, beguiling, warmly muted tone.
One of Hedges’ most interesting idiosyncracies concerns his use of meters, with the clarinetist often casting jazz standards in radically new rhythmic terms.
He played “St. James Infirmary Blues” in an interesting waltz tempo that ultimately was less effective than its original march meter.
The revisionist approach proved more appealing in “Softly, As in a Morning Sunrise,” which Hedges and friends played at an unusually propulsive tempo. Though one never will forget the Modern Jazz Quartet’s definitive recording of the piece, Hedges’ version was difficult to resist.
The clarinetist’s colleagues also threw a few curves, none more ingeniously than Duane Thamm.
Best known around town as a vibist, Thamm turned in a terrific solo on chimes. To hear him toss off runs, embellishments and arpeggios on this most unwieldy instrument defied expectations. The vigor of his playing almost allowed one to tune out the instrument’s inherently dubious pitch.
Beyond Thamm, who plays vibes in a florid style obviously inspired by Lionel Hampton, the show featured lovely, bowed bass solos from John Bany, gently lyric interludes from guitarist Dave Bany and lively rhythmic support from drummer Charlie Braugham.
Together, they reminded an enthusiastic audience that classic jazz styles never go out of date-so long as they’re dispatched with this degree of care and conviction.
Chuck Hedges’ Swingtet plays from 5 to 8:30 p.m. Mondays at Andy’s, 11 E. Hubbard St. Phone 312-642-6895.
– Jazz update: Cabaret star Julie Wilson drew turn-away crowds for her engagement last week at the Gold Star Sardine Bar, 680 N. Lake Shore Drive, so she’s returning to the room. She’ll play Thursday through Saturday; admission is $15. Phone 312-664-4215.
