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Kurt Elling & Charlie Hunter

Bird's Basement , 11 Singers Lane, Melbourne CBD, Melbourne

Ticket Information

• Premium + : $150.00 each
• Balcony Stools : $130.00 each
• Premium : $130.00 each
• A Reserve : $110.00 each
• B Reserve : $105.00 each
• C Reserve : $102.50 each
• Bar Stool : $100.00 each
• D Category (Limited View) : $100.00 each
• Additional fees may apply
• Tue 22 Aug 2023, 6:00pm–11:55pm
• Wed 23 Aug 2023, 6:00pm–11:55pm
• Thu 24 Aug 2023, 6:00pm–8:30pm
• Thu 24 Aug 2023, 9:20pm–11:55pm
• Fri 25 Aug 2023, 6:00pm–8:30pm
• Fri 25 Aug 2023, 9:20pm–11:55pm
• Sat 26 Aug 2023, 6:00pm–8:30pm
• Sat 26 Aug 2023, 9:20pm–11:55pm

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All Ages Licensed

Bird's Basement

Prepare for an unforgettable night at Bird's Basement as jazz icon Kurt Elling and guitar maestro Charlie Hunter join forces for a mesmerizing musical experience. With a career spanning three decades, Elling's innovative vocalese and astounding improvisational skills have made him a leading figure in jazz, captivating audiences worldwide.

Elling's new LP, "SuperBlue: The Iridescent Spree," showcases his growing ambition and experimentation, setting him apart from other vocalists in the jazz scene. In collaboration with producer/guitarist Hunter, the duo presents a kaleidoscopic collection of new songs, unexpected covers, and dynamic reinventions.

Charlie Hunter, a trailblazing musician, amplifies this extraordinary collaboration with his distinct sound and artistic prowess. Known for his ability to play bass lines, rhythm guitar, and solos simultaneously, Hunter creates an immersive and enchanting musical landscape.

Elling and Hunter are joined by Kenny Banks Jr on keyboards and Marcus Finnie on drums, adding even more depth to this incredible lineup. So, what are you waiting for? Grab your tickets now for a night of unforgettable jazz at Bird's Basement and get ready to have your mind blown by the unstoppable duo of Kurt Elling and Charlie Hunter. Trust us, this is one gig you don't want to miss!

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Booking brad madison mongrel music (415) 485-5100 [email protected].

Kurt Elling & Charlie Hunter’s ‘Superblue’: a case of dual sheer artistry

by Andra Jackson

It was a double thrill when US singer Kurt Elling unveiled his new musical direction at Bird’s Basement last night (ed.note: on Tuesday 22 August.) The audience was treated to Elling’s distinctive, creative vocalese while those vocals were punctuated by the scintillating lyrical embellishments of guitarist Charlie Hunter as well as his masterful solos. It was a case of dual sheer artistry.

Elling is best known in Australia — from his regular visits pre-COVID — for his jazz sensibility, crafting words to jazz solos or scatting wordlessly like an instrument.

But during COVID, he forged a new direction in collaboration with guitarist Charlie Hunter . They are in Australia to promote their new album SuperBlue: The Iridescent Spree .

As evident last night, Elling’s new direction embraces blues, funk, and a dose of soul. It is a blend that — thanks to dynamite drummer Marcus Finnie and wiz keyboardist Kenny Banks Jr. — is high on groove. Except for a ballad number, this was infectious music that had feet tapping and listeners grooving along in their seats.

Over a range of songs that included compositions from pianist Carla Bley, saxophonist Ornette Coleman, and many others, Elling dived into the deepest recesses of his vocal range while gliding effortlessly back into a falsetto range.

He performed a riveting soul-dripping rendition of  Baby Hold On.

The multi-Grammy winning singer not only delivered some amusing spoken monologues about such themes as time, but also provided an unusual meeting of scatting and funk.

Perhaps the best example was his exhaustive scatting exchange with drummer Finnie coming up with different wordless syllables to challenge the drummer rhymically or to match him in unison.

This is a band big on musical conversations and one such exchange between Elling and Banks was an engrossing display of jive talkin’.

Others of the many highlights included a fiery drum solo from Finnie and Hunter’s throbbing bass that darted into lyrical lead guitar territory simultaneously.

Hunter’s thrilling guitar solos evoked much vocal appreciation from the audience, including — I swear — a scream from one enthusiastic woman.

After one of Hunter’s displays of skill and inventiveness, Elling quipped “and there’s not a dry seat in the house.”

Kurt Elling and Charlie Hunter (and band) are performing at Bird’s Basement until and including Saturday 26 August.

They then perform in sydney at the city recital hall on wednesday 30 august ., share this:.

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Kurt Elling & Charlie Hunter

The Basement Sydney Presents

Contemporary Music

Prepare for an unforgettable night as jazz icon Kurt Elling and guitar maestro Charlie Hunter join forces for a mesmerizing musical experience. With a career spanning three decades, Elling's innovative vocalese and astounding improvisational skills have made him a leading figure in jazz, captivating audiences worldwide.

Elling's new LP, "SuperBlue: The Iridescent Spree," showcases his growing ambition and experimentation, setting him apart from other vocalists in the jazz scene. In collaboration with producer/guitarist Hunter, the duo presents a kaleidoscopic collection of new songs, unexpected covers, and dynamic reinventions.

Charlie Hunter, a trailblazing musician, amplifies this extraordinary collaboration with his distinct sound and artistic prowess. Known for his ability to play bass lines, rhythm guitar, and solos simultaneously, Hunter creates an immersive and enchanting musical landscape.

Elling and Hunter are joined by Kenny Banks Jr on keyboards and Marcus Finnie on drums, adding even more depth to this incredible lineup. So, what are you waiting for? Grab your tickets now for a night of unforgettable jazz at Sydney Recital Hall and get ready to have your mind blown by the unstoppable duo of Kurt Elling and Charlie Hunter. Trust us, this is one gig you don't want to miss!

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• June 21 - 30
• 2024 Schedule Festival Map Jazz Fest Newsletter

SuperBlue Kurt Elling & Charlie Hunter

• June 28, 2024
• Jazz Bistro
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• Starting at $30 + taxes & fees
• June 29, 2024

Co-presented with Jazz Bistro

Media partner: JAZZ.FM

GRAMMY® Award-winner Kurt Elling is without question today’s preeminent male jazz vocalist, renowned worldwide for his unparalleled virtuosity and flair for trailblazing artistic exploration. From his stunning reinvention of timeless standards to his own captivating original songcraft, the Chicago-based musician has fused his dazzling talents across a panoply of musical approaches, emblazoning each with signature imagination, insight, and emotional intelligence.

Where many male jazz vocalists at this stage in a much vaunted career have tended to stick to the tried and true, Elling seems to be growing more ambitious and experimental with the passing of time, a tendency evidenced by his stunning new LP, SuperBlue: The Iridescent Spree. The followup to 2021’s remarkable SuperBlue, the album once again sees Elling joining forces with producer/guitarist Charlie Hunter and multi-instrumentalist duo drummer Corey Fonville and bassist-keyboardist DJ Harrison for a kaleidoscopic collection of new songs, surprising covers, and dynamic reinventions.

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Charlie Hunter tour dates 2024

Charlie Hunter is currently touring across 1 country and has 1 upcoming concert.

The final concert of the tour will be at Terrace Theater, Kennedy Center in Washington.

Currently touring across

Upcoming concerts (1) See nearest concert

Terrace Theater, Kennedy Center

Past concerts

The Vogel, Count Basie Center for the Arts

Blue Note Jazz Club

View all past concerts

Recent tour reviews

Before getting the ticket, I'd only seen youtube vids of this guy playing. I knew he had a really unique finger style which allows him to play the bass line and guitar part simultaneously.

The show exceeded my expectations. The energy Charlie brings is great, and he's the most gifted guitarist I've ever seen; it's just a joy seeing him play. Every funk music craving I had was satiated. And Lucy Woodward is an amazing singer; the way her and Charlie bounce off each other is a great sight- they really feed off each other's stage presence, and they give 100% in the performance. It was so good, I actually bought the vinyl at the show, and had it signed by Charlie and Lucy. Highly recommended to see this group.

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High energy as Usual! Charlie Hunter obviously brought it as expected. I had some question marks going in but they were all answered with exclamation. Bobby Previte really knows how to keep an audience on the edge of their seats. He's really the type of drummer that leaves you hanging on his every beat! My question mark was Carly Myers. I was a little let down that Curtis Fowlkes wasn't playing (until the show started). She absolutely killed it!

I’m not sure you can really say you’ve seen a guitar being played until you’ve seen Charlie Hunter do it. Seeing a man play the bass, rhythm and lead guitar all on the same instrument (usually a custom 8 string no less) is an experience like no other.

Unbelievable music prowess however, can often make for a dull live show but with his keen ear for melody and improvisation that is not the case with Charlie. His compositions are filled with rewarding melodies and impressive solos which never fail to hold any room to his attention, an impressive feat for just one man and guitar. Sometimes he’ll even play with others, often managing to create a full band sound with as few as two musicians and he always manages to compliment his sidemen, never showing off.

It’s never a dull affair either. Charlie will often banter with the crowd and might even treat people to a cover of Nirvana’s ‘Come As You Are’ or Lorde’s ‘Royals’. Charlie gets the balance perfect between musicianship and entertainment and that’s why his shows are not ones to miss.

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Kurt Elling and Charlie Hunter on the dynamic alchemy of SuperBlue

SuperBlue, initially a long-distance collaboration between vocalist Kurt Elling and hybrid guitarist Charlie Hunter , emerged from pandemic lockdown to become one of this era’s must-see touring bands. Their energy onstage is contagious, as I can attest from the group’s last swing through town, at Ardmore Music Hall last year.

The band has dazzled audiences on four continents, and returns to Philly in the midst of another world tour. SuperBlue also has a new studio album, The Iridescent Spree , which combines original tracks with funky reworkings of songs by Joni Mitchell, Ornette Coleman and Don Was.

Elling and Hunter agreed to chat with WRTI about the new album, their evolving rapport as a live band, and their experience taking a message around the world. Here is an edited transcript of our conversation. And be sure to tune in to Evening Jazz to hear songs from the new album.

You all have enjoyed an inspired association musically since the 1990s, but this iteration was born when everybody was on pause during the pandemic. It’s now a global touring success and a juggernaut of a band. How hard was it to craft the nucleus of what you wanted this second album to be while the band is busy on the road?

Hunter : Actually, I think it kind of was the opposite. With the first record, you know, Corey Fonville and DJ Harrison and I knew each other. We’re doing this thing, but we’re still kind of getting acquainted musically. Two years later, we’re just like, “Count to four and we got this.” We figured that we would do this album the same way as the first one, and because of scheduling stuff with Butcher Brown, it made the most sense for me to go to them in Richmond, Virginia again, and then the three of us just knocked out a ton of instrumental stuff. After that, Kurt came to Montrose studio, and then we started to work on that part of the record. Kurt was ready with all these background ideas and things that he didn’t always get a chance to do in his previous incarnations. With SuperBlue, it kind of became a part of the puzzle. Does that sound about right, Kurt?

Elling : Yeah, we were able to expand stuff a lot more. I mean, also because we were on the road, we could talk about ideas, and we could run possible melodies by each other. We could talk about covers that we might want to do, and play stuff and laugh about it. That’s always as much fun as anything else in the creative process. You don’t want to just show up totally cold to a thing. You want to have some information, have some ideas, but to be able to work it out with your pals while it’s happening. That’s the way you want to do it.

Hunter: And there’s tons of stuff on the cutting room floor as well. So, if Kurt ever wanted to make a record out of all the cutting-room-floor stuff, there’s probably two records worth hanging around — you know, for the next pandemic!

There’s a real healing moment for me at the end of your new record, on a song called “The Afterlife.” I’m thinking about all those we’ve lost in the past two and a half years, and I really thought it was a great choice that you all did something in tribute. But I don’t want to get too much in your head. I want you to tell me about the poem and this iteration of it.

Elling: Oh, wow! You know what? You’re bringing up a whole aspect I hadn’t even thought of. The stuff that Charlie, Corey, and Devon put down is very evocative, and I was just following up on the thing that they made. And then, you know, it’s up to me to look around and find either a melody or something to say, or something to sing that’s tailor-made or appropriate in response to that. When I came across that poem, “The Afterlife,” I said, “That's kind of cool. Let me try that out.” I thought it ended up working out great. I think it was the first take. I just read it once. As with so many things that happen in the studio, when it comes to the creative process, there’s a lot of intuition, and the thing feels right, and it sounds right. It’s got something cool to say, but I hadn’t even thought about the deeper, broader context that you’re bringing up.

It’s a real gem of a tune. And then, conversely, what about a song like “Black Crow?” I don’t know if I’d call myself a Joni Mitchell aficionado, but I paid close attention to those late-‘70s albums when she started making her own genre with improvisers. When approaching a tune like that, how much do you stick to what was there, and how much license do you take?

Elling: Anytime you take a thing — if it’s Joni, or if it’s Duke Ellington, or if it’s any of the jazz people that we revere — if the idea is substantial enough, and you feel right about it, then you play it to the best of your ability. Then again, there’s this whole intuitive thing and the technique, but when it comes to creative decision-making, it just seems to me like the best idea is apparent. Joni wrote great lyrics, and she had cool chord changes. The melody and the whole situation lent itself to what our project is, and I just tossed it over to Charlie and said, “Do you think this is a good enough idea?” And he says, “Yeah,” and I’ll say, “How do you want to do it?” And then we’ll try it. If there’s anything that needs to be fixed, it is clear, and you fix it, or you play it a different way. Charlie, am I wrong?

Hunter: No, you’re right. With us, it’s always that the best idea wins, and we don’t overthink s—t. It is what it is, you know? And Kurt will give us a key, and he’ll give us a tempo, so that he can get the lyrics out on things. I mean, really the hardest thing would be Kurt’s backgrounds, because they’re the very last thing that we do. Immediately your ear goes to vocals, right? At that point, it’s like: “Okay, well, here’s where the real fine motor skills stuff happens.” You know what I mean?

Absolutely. In concert, you all have enlisted three fantastic drummers on different tours. One is Nate Smith, and another we’ve been talking about is Corey Fonville, who plays on the new record. The third is Marcus Finnie. Could you tell us about these drummers and what they’ve added to help the band come across to the audiences who witness the live show? 

Hunter: Well, everyone has their own thing. They’re all on this stupendously high level of musicianship, you know. Marcus’ attention to detail is kind of otherworldly. I think he must have a photographic memory or something, and his ear harmonically is so good — like, probably better than mine. We’re a great team. And, you know, Corey and me and DJ, Corey’s got this whole other grooving and amazing thing that he does. And, of course, Nate Smith is Nate Smith! You know, everyone is, if I can say, funky and creative as f—k, but each person has their own aesthetic that they bring to it. And I’m happy any way you slice it!

Elling: I mean, we’re talking about three remarkably gifted, hardworking, and unique drummers. The whole band sort of shifts toward them as they each have their own magnetism. They’re all such beautiful cats on the road. It’s such a pleasure to be out with this band, because we all like each other. I have a no-a—hole policy on the road. You must be righteous. You must be ready. We all support each other. We’re out here together, and when you’re on the road, it’s your family. So, onstage and off, this is just a stellar unit.

I’m listening to the band’s version of “Lonely Woman,” originally by Ornette Coleman — and not being a lyric writer, sometimes I wonder: is the story always in the title? What is the best way to craft a story for something that is instrumental, to give it linear form or nonlinear form?

Elling: I do try to start with a reference or a touchpoint to the title that the original composer made, because there’s a reason that person gave it that title. It’s a launching pad, and it’s important for me as a lyricist. What is that idea? It could mean a hundred shades to a hundred different lyricists. My own way, most of the time, is just to start writing. I feel like I’m trying to translate from one language to another, especially with horns. You can do that because horn players’ sound has consonants and vowels. You can hear that implied, much more than you can with a piano or a bass or anything else. So I try to follow up on it in the right way, and then I must make this stuff rhyme, where the melody rhymes with itself.

It’s hard work to get it right, and then your intuition tells you when it is at least as good as it can be, for your ability. I hope that over the years my ability has grown, and that I’ve learned the kind of dumb mistakes not to make as a writer, and to also not be too penned in by the expectation. If the work is good enough, then the original artist is going to like it. And that’s what happened, you know, so many times with the stuff I wrote for Wayne Shorter, or Herbie Hancock, or Freddie Hubbard. You can’t get all hung up on “These guys are giants, and you’re not a giant,” because I already know that. I already know I’m doing aftermarket stuff to works of genius and perfection. To try to sing any of this stuff, anyway, is already some chutzpah. But Jon Hendricks taught me how to do a thing, and the great jazz lyricists, they’re the guys that had the temerity because they started doing a thing that nobody had done before. So, for me to come along — I’m honoring Jon, and now, I’m trying to honor Ornette. We must run everything by the estate or by the composer, and Denardo Coleman, his son, told us, “I’ve never said yes to somebody writing to this, but you and these cats made such a cool thing out of it. I like it, and I think Ornette would like it, so I’m going to say yes!” So in the final analysis, I am very humbled and moved when the families say yes. I just continue to go down that road and try to honor that.

Hunter: And as a footnote, we took a big chance, because we worked a lot on that tune before we got clearance to use it. To me, that tune is really a duet between Corey and Kurt. Corey, to me, is just like an underground funk ninja assassin that’s so creative. I don’t know how much more jazz you would want. You know?

I have not had the pleasure to travel abroad since the pandemic, and I’m wondering how you both are feeling, being Americans traveling internationally and seeing the audiences and meeting some of them. How is it touring abroad, given the state of where everything is politically, socially, environmentally, and health-wise?

Hunter: I won’t get into the weeds on this politically, because we’ve all had these conversations. You know how much Kurt and all of us research this stuff, and how involved and aware we are as citizens. Let me put it that way, when we go and we do this, I feel like we’re ambassadors for what we do right. We get to go and interact with people from all over the world, the way we should be interacting with people all over the world. That’s what I’ll say. Kurt, what do you think? Am I wrong?

Elling: No, dude, I think you’re spot on. Everybody’s been hungry to get out and hear some blazing music, and we’re doing our best to provide that. The peaceful warrior thing is real, and we’re out there together as a team. We love each other, and we love on the audience, and they love on us back. We’re just out there hitting it as hard as we can. I mean, you know, you’ve seen how many dates we’re playing this year. We’re going to ride that out, man.

SuperBlue performs this Saturday at World Cafe Live; tickets and information .

Kurt Elling

• About & Biography

LATEST RELEASE

Superblue: the iridescent spree.

GRAMMY® Award-winner Kurt Elling is without question today’s preeminent male jazz vocalist, renowned worldwide for his unparalleled virtuosity and flair for trailblazing artistic exploration. From his stunning reinvention of timeless standards to his own captivating original songcraft, the Chicago-based musician has fused his dazzling talents across a panoply of musical approaches, emblazoning each with signature imagination, insight, and emotional intelligence.

Where many male jazz vocalists at this stage in a much vaunted career have tended to stick to the tried and true, Elling seems to be growing more ambitious and experimental with the passing of time, a tendency evidenced by his stunning new LP, SuperBlue: The Iridescent Spree . The followup to 2021’s remarkable SuperBlue , the album once again sees Elling joining forces with producer/guitarist Charlie Hunter and multi-instrumentalist duo drummer Corey Fonville and bassist-keyboardist DJ Harrison for a kaleidoscopic collection of new songs, surprising covers, and dynamic reinventions.

SuperBlue Live

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Charlie HUNTER

Victoria Victoria with Charlie Hunter and Carter McLean – SOLD OUT!

• This event has passed.

Tori Elliott’s deep love of harmony is the driving force that shapes her soul-pop musical endeavor, Victoria Victoria. Her craft in songwriting is the seedbed for intricate vocal arrangements, creating a layered, ethereal experience; one that translates dynamically from her albums to her live shows. 

2022 saw the release of Victoria Victoria’s album, To the Wayside, which is a collaborative effort with guitarist and producer, Charlie Hunter. “Writing these songs with Charlie was an otherworldly experience,” says Elliott, who engineered and produced her lead and background vocals in her home studio. “Arranging these songs for our live show was even more incredible.” Hunter and Elliott teamed up to write glossy anthems of self-acceptance such as Over My Shoulder and Move Right On, and enticing tunes of invitation like Really Really and Keep Up. 

January of 2023 marked Victoria Victoria’s debut tour with Charlie Hunter on hybrid guitar, her brother, Noah Elliott on keys and vocals, her dear friend and collaborator, Maia Kamil on vocals, and renowned Memphis drummer, George Sluppik. The rhythm section makes for a sturdy foundation for transcendent vocal performances and inviting banter. The charisma and kinship between the band members left listeners with the sense that each Victoria Victoria show is truly a family affair.

Food & Bar: Our full food and drink menu will be available before and during the show.

Date: Wednesday, February 28

Time: 8:30 pm

Doors Open: 7:30 pm

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Australia's Max Purcell overpowered by Taylor Fritz in Eastbourne International final ahead of Wimbledon

Sport Australia's Max Purcell overpowered by Taylor Fritz in Eastbourne International final ahead of Wimbledon

Max Purcell's hopes of going into Wimbledon on the back of his first ATP Tour title have been dashed, with the Australian going down to Taylor Fritz in the men's Eastbourne International final.

American Fritz defeated Purcell 6-4, 6-3 to claim a record third title in the traditional pre-Wimbledon tournament at Devonshire Park in the English southern coast seaside resort.

In the women's final, sixth-seeded Russian Daria Kasatkina defeated Canadian Leylah Fernandez 6-3, 6-4.

Purcell, ranked 94 in the world, will travel north to London for next week's grass-court major in a confident mood after a breakthrough week in which he reached his first ATP Tour final under new coach Blaž Kavčič.

"To Blaž, it's been a hell of a ride this week," Purcell told the crowd at the post-final presentation.

"Thanks for being here, late call. I really appreciate everything this week you did for me. Felt like my first week as a professional tennis player, honestly, so thank you.

"This is a really special place for me and I couldn't think of any other better place to do it right before Wimbledon."

Fritz, who will go into Wimbledon as the men's world number 12, won 89 per cent of points when he landed his first serve.

He sent down nine aces and did not give up a single break-point chance in the 69-minute victory.

In the second set, Fritz had only given up a single point on serve until the final game, when Purcell produced some late heroics, saving three championship points.

Purcell will get a day's rest before being plunged into action on Wimbledon's opening Monday.

He is drawn to play Finnish qualifier Otto Virtanen, the world number 149.

Purcell achieved a career-high ranking of 40 in October last year.

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