By Keidra Chaney
Everyone loves a good rock ‘n’ roll success story. You know the one: the scrappy band of musicians, armed with nothing more than raw talent and dreams, hustle their way to nationwide, major-label success. But these days such stories are few and far between, and for every rock-star success story that’s told, there are always several, lesser-known stories of industry mainstays that get short shrift.
For example, Greg Fulton: active in the Chicago music scene since his days as a Columbia College student in the 1980s, Fulton is currently the founder, guitarist, and vocalist of Sweet Diezel Jenkins, a Chicago-based “party band” that does mashup-style covers of R & B and pop hits. Can you imagine a funk-infused mashup of Sisqo’s “Thong Song” and Nirvana’s “Smells Like Teen Spirit”? Sweet Diezel Jenkins manages to pull it off with aplomb. SDJ has a regular gig at Red Line Tap in Rogers Park on most Wednesday nights, and the band regularly plays out at bars and festivals across the midwest, from Ohio to Michigan.
But little known to many, Fulton also represents a slice of Chicago heavy metal history, as the founding member of several metal bands: Znowhite, Cyclone Temple, and Rebels Without Applause. Znowhite, founded in 1982, was featured in a volume of the iconic “Metal Massacre” song compilation alongside a then-unknown Slayer. (Fulton is listed on Znowhite albums under his stage name, “Ian Tafoya.” He managed the band under his own name.) Read the rest of this entry »
Forty years ago this month on August 9, 1974, legendary trumpeter Bill Chase and three other band members of the pioneering jazz-rock fusion group Chase were killed in a plane crash on the way to perform at the Jackson County Fair in Minnesota.
“In retrospect, it seemed inevitable,” admits original Chase bassist Dennis Keith Johnson, who recalls a number of “close calls” in the days he was with the band. “One winter, our concert ended early, so we thought, ‘Let’s fly to the next gig tonight.’ It had snowed, but our pilot wasn’t concerned and said he would just run the plane down the runway and blow the snow off. He cranked it and you could feel the tail going down and could hear both engines shutting down. The next thing you know, we’re all asked to get out and ‘push the plane.’ We got out and the nose of the plane was sticking out over a seventy-five-foot drop over a four-lane highway and we all had to push an 18,000 pound DC3 back on to the runway!”
Johnson, who is best-known in the years since Chase for having been a founding member and original bassist of the group Survivor and for leading the Dennis Keith Experience, is organizing what he describes as “the last call” performances of “Chase Revisited” to commemorate the fortieth anniversary of that fatal plane crash and to coincide with the band’s induction into the Iowa Rock ‘n’ Roll Music Association Hall of Fame on August 31 in Arnolds Park, Iowa, as well as with the Chicago Jazz Festival. Read the rest of this entry »
If there is anyone whose musical direction should be trusted, it’s Mike Reed. As the director of the Pitchfork Music Festival and an important part of the Chicago Jazz Festival and the Umbrella Music Festival, Reed is well versed on Chicago jazz and beyond. His group, Mike Reed’s People, Places & Things, is a conglomerate of Chicago jazz and where it’s going. Free jazz can be difficult to follow for the casual listener, but Mike Reed’s People, Places, & Things is an approachable place to start. Read the rest of this entry »
Photo: John Broughton
By Corey Hall
Are y’all hip to “Sweet Georgia Brown”? According to the grapevine, “It’s been said/she knocks ‘em dead/when she lands in town/Since she came/why it’s a shame/how she cools them down!” Satchmo sang about her, as did Ella, Ray Charles and Jerry Lee Lewis. And now jazz guitarist Bobby Broom and his trio have made a play for the gray gal on “My Shining Hour,” his new album that will be released on August 19.
When talking to Newcity about this song, written in 1925, and recording—which he describes as a tribute to Americana—Broom notes that its ten songs have stayed relevant through many decades. “They’re classics, and they are cultural pieces, cultural history in music, at least from my perspective,” he says, in reference to the collection’s songs, which also includes “The Jitterbug Waltz,” “Tennessee Waltz,” and “Oh! Lady Be Good.”
When discussing “Sweet Georgia Brown,” Broom recalls a special moment 4:15 in from bassist Dennis Carroll. Read the rest of this entry »
Moonrise Nation is one of those rare acts that is coming from a place of total honesty, presenting music that means a lot to them during the most important part of their development as artists. There is a certain misty wisdom in Moonrise Nation’s overall sound due to the songwriting itself as well as the general combination of piano, cello, guitar and woven harmonies. The group sounds like Regina Spektor collaborating with Atlas Sound, bringing together a darkened pop quirkiness and a mellow but fierce underlying force. Also, they’re all in their late teens, but this is not evident in their sound. Read the rest of this entry »
I don’t know if you’re into garage, punk, psych or chasing whiskey with Schlitz (or not chasing it at all), but if you are into any of these, go to this show. Mannequin Men, Radar Eyes and Le Tour are some of the most compelling bands in Chicago right now and a show combining all of these forces should not be missed.
Mannequin Men have been playing together for about eleven years and consequently present an air of experience as well as general bliss on stage. Their sound is rough and upbeat; they kind of sound like the Black Lips’ tougher dads. Radar Eyes are lower key than Mannequin Men, mixing the beach vibes with grungy basement sounds. Le Tour is a furious force of pedals, screeches and ballsy guitar solos that, if you listen closely, are neatly constructed by somebody who really knows what they’re doing. Read the rest of this entry »
Since the sudden passing of DJ Rashad, it’s been unclear how Chicago’s Teklife crew would move on, let alone fill his slot at this year’s festival. The group’s unequivocal response was an impassioned set that featured dozens of dancers and DJs on stage, and non-stop footwork music, save for a pause to honor their fallen comrade. It was an incredibly warming, moving experience, to dance along with the Teklife crew in their hometown at such a crucial moment. The performance was more a celebration than an occasion for mourning, and the crowd picked up on that, spontaneously breaking into dance circles, throwing up their arms and flailing along with carefree love and affection for the big beats and manic pace that left no choice but to move, and move on, with Teklife, even without DJ Rashad. No other moment at the Pitchfork Music Festival seemed as poignant or touching, DJ Spinn and the Teklife crew capturing the power and beauty of music’s possibilities, and redeeming Pitchfork for only choosing two Chicago acts to perform. At least they chose wisely. Rest in peace, DJ Rashad. (Kenneth Preski)
Blues, Chicago Artists, Classical, Country, Electronic/Dance, Experimental, Folk, Hip-Hop, Jazz, Music 45, R&B, Rock, Soul
Photo: Joe Mazza of BraveLux
Chicago, you are a big, bold, beautiful city of infinite complexity. Your historical heritage, your social and political upheaval, your segregation, violence and corruption have birthed an incredible wealth of musical expression. It’s by virtue of these artists that our community confronts and escapes the mistakes of our metropolis. And so our publication listens intently, offering a nuanced dialogue with the musicians who craft our culture. Yet, once a year, we redirect our approach to the opposing swing of the pendulum. We zoom-out where we would normally zoom-in. This list offers a broad-stroke survey of those Chicago musicians whose current cultural currency is readily represented to the city and to the rest of the world, living artists whose quantifiable influence echoes their effect. Some big names are missing, some rankings seem arbitrary, but it’s toward these acts, firmly Chicagoan, that we look when we seek out the spirit of home. Where our words might fail, the music will not. (Kenneth Preski)
Music 45 was written by Kenneth Preski, Dennis Polkow, John Wilmes, Jessica Burg, Robert Szypko, Eric Lutz, Keidra Chaney, Reilly Gill, Corey Hall and Dave Cantor
All photos taken on location at The Hideout by Joe Mazza of BraveLux. Read the rest of this entry »
Still from the documentary “Parallax Sounds”
By Kenneth Preski
Every critical outlet must justify its insights. The reasoning should extend beyond a simple citing of sources, should move past the seduction of poetic prose, and burrow down into the very tenets of knowledge that the writing seeks to embody. For a variety of equally abstract and profound reasons, this enterprise is in a badly confused state with respect to music journalism. What’s now required is a nuanced dialogue with musicians to re-appropriate the method, to re-envision the approach in favor of the artist and the audience. To that end, Steve Albini’s thoughts are invaluable. Beyond his work as a prolific sound engineer, Albini is a university-trained journalist and a seasoned musician. His band Shellac is on the eve of releasing “Dude Incredible” at a time when traditional operations for the music and publishing industries have been malformed by the internet. Now is the moment to re-strategize.
In an interview, it’s clear that the sea change has been on Albini’s mind. Read the rest of this entry »
On their self-titled second release, the jazz fusion trio led by Chicago-born pianist Adam Kromelow and rounded out by bassist Raviv Markovitz and drummer Jason Burger comes up with a collection of nine original songs penned by Kromelow and arranged by the group. The album kicks off with “Savior Complex,” which begins with a keyboard-pounding, rhythmically strong intro, and then evolves into a mellower mood. Markovitz contributes a fluid solo halfway through the tune, and then the tune picks up again. “The Experiment” is an uptempo tour de force played in double time. The tune’s style is reminiscent of Japanese pianist Hiromi Uehara, who also tends to write in quick tempos. Read the rest of this entry »