Alt-Rock, Chicago Artists, Dance Pop, EDM, Electronic/Dance, Festivals, Folk-rock, Garage Rock, Indie Pop, Live Reviews, Post-Rock, Rock
By Bart Lazar
“To hell with poverty,” Gang of Four tells us, “we’ll get drunk on cheap wine.” The only problem is that the band is playing at SXSW on a stage sponsored by dozens of global megabrands and funded by tens of thousands of trade show attendees, each of whom has shelled out thousands of dollars to attend. But just like the song, SXSW has an irresistible beat you can dance to, so that art, entertainment and fun ultimately trump commerce. Read the rest of this entry »
Celtic, Chamber Music, Chicago Artists, Classical, Folk, Interviews, Jazz, Latin, New Music, News and Dish, Orchestral, Pop, Vocal Music
By Dennis Polkow
Spanish bagpiper and pianist Cristina Pato realizes that there are lots of concertos for various solo instruments and orchestra out there—but bagpipes? “I don’t have the ability to be able to compose an orchestra piece,” she admits, “but I do have the ability to commission a composer and to open the interest of orchestras to play it.” Read the rest of this entry »
Chamber Music, Chicago Artists, Classical, Experimental, In Memoriam, Interviews, Jazz, New Music, News and Dish, Orchestral, Vocal Music
Pierre Boulez and Pierre-Laurent Aimard / Photo: Roger Mastroianni
By Dennis Polkow
When French pianist Pierre-Laurent Aimard came to Chicago in 1986, it was as a member of Pierre Boulez’s l’Ensemble InterContemporain for a week of performances. At that time, Aimard had already been playing with the Ensemble since its inception a decade earlier.
“It was such an exciting time,” Aimard recalls. “Boulez had been active abroad and was living in Germany but the moment he came back to France, there was so much anticipation.” Boulez did not disappoint: he founded the Paris-based IRCAM, the Institute for Research and Coordination in Acoustics and Music, with the goal of enlarging the domain of materials used for music. That goal was embraced by musicians of all genres and even brought Frank Zappa to Boulez.
When Boulez himself asked Aimard to join IRCAM’s new resident ensemble, “it was a privilege, and I thought I would be there for a couple of years.” He would remain for eighteen years, before finally setting off to have a career of his own in 1994. “I was overwhelmed by the power of his artistry, of his musicianship, his fabulous intellect, his work ethic and the commitment that he gave to all of the pieces he was serving. It was a happy eighteen years.” Read the rest of this entry »
By Robert Rodi
It’s hard to imagine it now, but a mere fifty years ago there were very few singer-songwriters beyond the folk milieu. Bob Dylan was still a relatively new phenomenon, and he not only owned the genre, he pretty much was the genre. These days, of course, you can’t swing a dead cat without thwacking half a dozen guitar-slinging bards (while Dylan, go figure, is covering Sinatra). On any given night, in clubs and pubs across America, countless brave-hearted balladeers climb atop stools and compete for the attention of the congenitally inattentive. And people say stand-up comedy is rough; try breaking through the noise of a bar in full clamor when you’re warbling about your last big breakup.
But, here’s the thing: a lot of these troubadours are pretty freaking fine. And in Chicago, I’m happy to report, we’ve got more than our fair share of them. A pair of recent releases prove my point: they’re both melodically original and lyrically ingenious, yet each one is a standout original.
Little Dave Merriman has long been a fixture on the scene, chiefly as a guitarist and vocalist for The Arrivals. “Odd Bird” is his first solo album—and when I say solo, I’m being almost entirely literal. He not only wrote all the tunes, he plays nearly every instrument as well. And these aren’t breathy, spare arrangements either; they’re full-throttle rock-band material—the better to support Merriman’s raggedly bravura, another-whiskey-will-kill-me-but-so-what vocals. Read the rest of this entry »
“The Stillness of Motion” opens with a guitar laying down a groove while a bassist takes the melody line. This is the reverse of how it’s usually done, and it’s a testament to Scott Hesse’s generosity and sense of ensemble. He’s one of Chicago’s most highly regarded guitarists, and yet in the first measures of his new record he gives the spotlight to a fellow player. Not that Clark Sommers, the player in question, requires charity; when Hesse steps back into the forefront, Sommers has no trouble maintaining his share of the musical dialogue. Ditto drummer Makaya McCraven, who manages to establish an intriguing voice of his own throughout the proceedings, especially on “Yardbird Sketch,” where he provides a percussive landscape as broad as a lawn, over which Hesse wanders searchingly, occasionally somersaulting into dreamily descending chords. Read the rest of this entry »
Chamber Music, Chicago Artists, Classical, Folk, Folk-rock, Interviews, New Music, News and Dish, Orchestral, Singer-Songwriter, Vocal Music
Tobias Picker/Photo: Harry Heleotis
By Dennis Polkow
“I bristle at being called an opera composer,” says Tobias Picker, whose “Thérèse Raquin” runs at Chicago Opera Theater this month. “There are composers today and in the past who basically only write operas: Verdi and Puccini, that’s mainly what they did, and Wagner, too. It doesn’t apply to me because the majority of music that I write is not opera.
“Right now, I’m writing a Concerto for Orchestra for the Kennedy Center for the National Symphony. Between my last two operas I wrote a new string quartet, my second, a new piano quintet and a ballet. And I wrote some piano music and some other things I don’t remember… The operas are the biggest art form so they get the most attention and notice because they incorporate every other art form. But my orchestral tone poem ‘Old and Lost Rivers’ is more famous, more performed and more known than any opera I ever wrote.” Read the rest of this entry »
By Keidra Chaney
It’s an interesting time of year for live music in Chicago; it’s right before the spring and summer concert season, so many of us are preoccupied with summer-festival-lineup announcements or buying tickets for recently announced shows taking place in the upcoming months. At the same time, it’s smack dab in the middle of the worst part of winter, so many of us are suffering from major cabin fever and eager to leave the house for anything remotely interesting. Chicago’s musicians and venues often approach this time of year in novel and creative ways.
The 2015 Dunn Dunn Fest returns to Chicago February 19-21. In an indie-rock-heavy festival scene, Dunn Dunn Fest has traditionally stood out from the crowd by focusing more on American, folk and roots acts. Six venues will host this year’s event, including The Hideout (1354 West Wabansia), Subterranean (2011 West North) and Beat Kitchen (2100 West Belmont). While Dunn Dunn Fest started in 2013 as an intimate festival focused primarily on Americana, a closer look at the lineup this year reveals a much larger and more diverse list of forty-plus bands that don’t fall so neatly into that category. On February 19, Toronto alt-rock band July Talk plays Subterranean (8pm, $10) and on February 20 sunny indie-poppers Save the Clocktower play the Hideout ($10, 10pm). For more information on the full lineup, venues, times and ticket prices go to the Harmonica Dunn website. Read the rest of this entry »
Louis CK has said that this is the age of the artist-entrepreneur, and he might have said it about Meagan Hickman. An incredibly driven Chicago singer-songwriter, Hickman partially funded her second album, “Sightlines,” through an Indiegogo campaign, and is now supporting it with highly polished behind-the-scenes videos on her YouTube channel. Fortunately, her artistic energy is equally supercharged; “Sightlines” is an explosion of talent, its eleven tunes ranging stylistically from a straight-ahead rock anthem (the fantastic opener, “Seize the Day”) to sweetly twangy country-pop (“Not That Girl”); there’s even an R&B ballad (“Time Moves On”) that Aretha could’ve recorded (and what the hell, might yet). Read the rest of this entry »
On his debut recording as a bandleader, the Chicago-based pianist and trombonist showcases his versatility and stylistic dexterity on a CD that includes straight-ahead, Latin, contemporary, big band and light jazz. He is in the company of an impressive array of musicians, including Bobby Shew (trumpet and flugelhorn), Dave Hiltebrand (bass) and Paul Zimmerman (vocals). Though the music goes in various directions, it gives us an idea of where Cline has been over his long career as a sideman (he has played with R&B legends like Aretha Franklin and The Temptations, as well as led various bands while working for the Norwegian Cruise Lines). Read the rest of this entry »
By Corey Hall
In his imagination’s ear (earmagination?), tenor saxophonist Chris Greene hears this when Brazilian vocalist Ed Motta sings: “He sounds like what would happen if Chick Corea, Antonio Carlos Jobim and Stevie Wonder had a baby, raised him in Brazil, and made him listen to Gamble and Huff records. He’s got this Teddy Pendergrass voice, but he sings in Portuguese. He has these elaborate Chris Cross-Steely Dan arrangements, and he can get super funky, too.”
To honor this musical love child, Greene and his quartet—which includes pianist Damian Espinosa, bassist Marc Piane and drummer Steve Corley—recorded Motta’s tune “Papuera” for their independently produced double CD, “Music Appreciation,” their eighth album in ten years. The title is a reference to a sound bite from the seventies sitcom ‘What’s Happening!!,’ in which Raj, the lead character, tutors an athlete. Read the rest of this entry »