Empty Bottle and Lunar Cabaret: An Open and Shut Case
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Actually, despite a long tradition of pioneering jazz in the city, it’s never been a piece of cake drumming up local support for the music. Hard work and persistence on the part of a few individuals has built the audience that’s made multiple venues sustainable and such an ambitious project as the Empty Bottle festival possible. Two of those people, writer and teacher John Corbett (who contributes to this paper) and saxophonist Ken Vandermark, have for years organized and presented concerts by international as well as local artists. So when Corbett heard that Empty Bottle proprietor Bruce Finkelman thought jazz might perk up Wednesday-night business, he stepped in and took full advantage of the situation.
Corbett, however, is also committed to exposing lesser-known artists. “I like the fact that we can book people no one’s heard of,” he says. “Most people didn’t know who Joe McPhee was when we booked him, but now there’s an audience for him.” The Poughkeepsie-based multi-instrumentalist and New York saxophonist Ellery Eskelin made their Chicago debuts in the series, and they’re both returning to play at the festival. “I found the experience extraordinary,” recalls McPhee. “I didn’t know what to expect, but the audience was absolutely fantastic. They were really into the music and really listened closely to it.”
One consolation: although she wouldn’t confirm them, reliable rumors abound that Marguerite Horberg is soon to reopen HotHouse, which could certainly contribute to the movement it was vital in fomenting in the early 90s. And it would be living proof of Corbett’s contention that the core enthusiasts won’t surrender easily. “Those people aren’t gonna just shut up and roll over,” he says. “They’re excited about the music and they want things to happen.”
