Goran Ivanovic is a multiculti wunderkind. A Croatian-born Chicagoan, he plays nylon-string classical guitar, with which he not only unleashes great stampeding Balkan rhythms, but intricate Middle Eastern and Asian-inspired cadences as well. On his trio’s newly released eponymous disc, he’s accompanied by Matt Ulery on electric bass and Pete Tashjian on drums and percussion, with a special guest appearance by Ian Maksin on cello. Read the rest of this entry »
By Robert Rodi
I miss the glory days of the protest song. Thanks to corporate ownership, these days the major labels are more interested in moving units than in moving society forward. But the fracturing of the market into a dizzying kaleidoscope has at least made it possible for possible heirs to Woody Guthrie to come up through the cracks. Chicago’s Andy Metz isn’t overtly political on his new album, “Delusions,” but he’s definitely the first artist I’ve come across, outside of hip-hop, to tackle the recent epidemic of gun violence. “Guns,” the tune in question, lashes into the macho pretensions of weapons owners with scalding ridicule: “Little Kyle thinks he needs a gun…Despite a sick pickup truck, he ain’t picking up much / Ladies don’t get him, no he’s just tough / So he strokes it every night, ’cause it’s all he’s got now / The only way he’s getting brain is click, click, pow.” Metz’s timing couldn’t be better; the so-called Oregon militia are basically acting out the music video for this tune. Read the rest of this entry »
Stephen Williamson/Photo: Todd Rosenberg
By Dennis Polkow
“Honestly, I felt like I was being shot out of a cannon,” says Chicago Symphony Orchestra principal clarinetist Stephen Williamson of the day he unexpectedly landed the job. “There had been four years of auditions and the position was still vacant. I was at the Metropolitan Opera Orchestra and was being asked every time, ‘Please, will you come?’ My wife and I struggled with it and I told her, ‘They’re not finding anybody. I feel I need to go out there and to at least say that I tried, that I represented myself.’
“When I finally came to Chicago, I wasn’t expecting anything. All I was hoping was that I would have an opportunity to be invited to play a week with the orchestra and then, whatever happens, happens. And I could say that at least I got to play with the Chicago Symphony and that it was a great experience.”
What Williamson never expected was for music director Riccardo Muti and the audition committee to offer him the position on the spot immediately after he had concluded his audition. “I really was shocked. They did it so early in the morning because I had to fly back to do a ‘Die Walküre’ performance with Maestro [James] Levine. I was elated, but in shock, because I had to go back to my music director at the Met, play that same night and say, ‘By the way, something just happened.’ The news was already at the Met before I even showed up off the plane. Maestro Levine had requested to see me at intermission.” Read the rest of this entry »
By Robert Rodi
There isn’t much you can say definitively about The 3.5.7 Ensemble. Depending on the material it’s tackling, it ranges from a trio to a quintet to a septet (hence the name). And though it’s based in Chicago, it’s not entirely a Chicago band; a number of its members hail from farther afield. One thing you can say with reasonable confidence is that these guys are hella ambitious ambitious. This isn’t just a comment on their material, which covers a dizzying spectrum of styles and voices; it’s also a reflection of the fact that some years into the era of downloads and streaming, they’ve gone all 1990s and released not just a CD, but a double CD. When was the last time you set eyes on that brand o’ critter?
Fortunately, the program well supports the extra disc. All the pieces on “Amongst the Smokestacks and Steeples” are original (with the exception of the opener, “Dangurangu,” a Zimbabwean folk tune). Most are written by bassist Chris Dammann and tenor sax man Nick Anaya, but there are credits as well for guitarist Tim Stine and pianist Jim Baker, with improvised works credited to the entire ensemble (rounded out by James Davis on trumpet, Richard Zili on clarinet, and Dylan Andrews on drums). There’s also a credit for Fred Anderson, whose Velvet Lounge was the setting at which at least some of these pieces evolved into their current form. Read the rest of this entry »
By Craig Bechtel
West Side product Roosevelt Sledge, Jr. goes by R.O.E. (pronounced Roe), an acronym for Rising Over Envy, but he’s risen over a lot more. Since his 2011 debut EP, “A Backpacker Named R.O.E.,” he’s toured to tout his intelligent brand of alternative hip-hop, recorded an incredible live album with his band The Soulvillians at Double Door… and his 2014 EP was either a toast “To Happiness” or described his journey there.
That sojourn toward happiness has included recently relocating to New York to better connect with music-industry resources and expand his horizons. R.O.E. says “it’s a mix” of music bringing him to NYC and also wanting “to experience life outside of Chicago.” He says he’ll probably live here again, but plans on developing his career and “building up Chicago” from his new base. Read the rest of this entry »
Orbert Davis/Photo: Darron Jones
By Corey Hall
Chicago’s origins and present, along with a festival’s rebirth, are celebrated by the South Side Jazz Coalition on January 16. That’s when Orbert Davis’ Chicago Jazz Philharmonic (CJP) performs the score to “DuSable to Obama: Chicago’s Black Metropolis,” a documentary that first aired on WTTW in 2010 and won an Emmy Award. The Coalition’s second fundraising event is designed to raise funds for revitalizing the annual South Shore Jazz Festival, a thirty-one-year ritual that ended in 2012.
Now that the Coalition’s nonprofit status has been secured, it is attracting sponsors, determining a date, securing a lakefront location and selecting musicians for the revived festival, according to Coalition board member Margaret Murphy-Webb. This effort, she added, has been endorsed by Geraldine de Haas—the festival’s founder who, in 2013, relocated to the East Coast with her husband for health reasons—and surrounding communities.
“We expected 150 people at our first fundraiser, held last summer at the Quarry [in South Shore],” Murphy-Webb says. “We seated 180, and a total of 240 people showed up. This event on the sixteenth will seat 500, and we are urging people to get tickets early, because we don’t want to turn anybody away.” Read the rest of this entry »
If I could understand why certain music genres come into vogue, I’d be a very rich man. As it is, all I can do is marvel at the regularity with which the postmillennium throws us a cultural curve ball, like making a cult sensation of gypsy jazz—a style that hasn’t been much in vogue since Django Reinhardt and Stéphane Grappelli were hard at it, way back in the first half of the last century. But if you have any doubt that it’s returned with a vengeance, just insert yourself into the SRO crowd at The Green Mill on any given Wednesday night, when Alfonso Ponticelli and Swing Gitan hold court. Being shy of hyperbole, I balk at citing Ponticelli as Reinhardt’s and Grappelli’s heir, but goddammit, if he isn’t, who is? Read the rest of this entry »
I can’t think of better auspices for the new year than the arrival, at the eleventh hour, of Charles Rumback’s “In The New Year.” The Chicago drummer has assembled a quintet of absolutely topflight local players (Caroline Davis on alto sax, Jason Stein on bass clarinet, Jeff Parker on guitar and John Tate on bass) for a thrillingly diverse set of tunes—of which pride of place has to go to the title cut. “In the New Year” is just goddamn glorious. Davis and Stein wail mournfully—like it’s lights-up at the end of an epic New Year’s Eve bash, and they’re facing the first moments of January with soggy, sodden hangovers; meanwhile Parker strums in dreamy self-absorption, and Rumback himself races around the background, like a host trying to fetch up all the empty glasses before they leave rings on the furniture. There’s personality, there’s texture, there’s life itself percolating in this irresistible opening tune.
It’s followed by “Right Reasons,” which begins with a meditative bass line by Tate (with an occasional shimmering commentary by Rumback) that eventually relaxes into a space where Davis and Stein can gambol in and frolic. Rumback rolls alongside them in paternal approval as they romp gorgeously, until, inevitably, they begin to droop in exhaustion; it’s a lovely, spirited arc. Read the rest of this entry »
By Keidra Chaney
What are you doing New Year’s Eve? Or the day before? Honestly, I have no clue if I myself am leaving the house yet, thanks to Lyft surge charges and the fact that it tends to bring out the binge drinkers in full force. Even so, there’s a ton of A-list choices, music-wise, for anyone who does actually want to venture out—more so than usual, so make your plans early.
If you love EDM and/or hip-hop, there’s really only one logical choice for you for New Year’s Eve, and that’s Reaction NYE, taking place on December 30 and 31 at the Donald E. Stephens Convention Center in Rosemont (5555 North River Road). The event is headlined by EDM faves deadmau5 and Skrillex, as well as Run the Jewels and Chvrches. There’s a pretty impressive Chicago showing as well, including Chance The Rapper (returning to the city after his headlining stint at Pitchfork over the summer), legendary house producer Green Velvet, hip-hop artist ProbCause and local remix artists Autograf. Tickets start at $89, and can be purchased at the Reaction NYE website. Read the rest of this entry »
Chicago Artists, Folk-rock, Holiday Music, In Memoriam, Interviews, News and Dish, Pop, Prog-rock, Record Reviews, Rock, Singer-Songwriter
By Dennis Polkow
“There is something lacking in a lot of current Christmas music,” admits legendary Chicago singer-songwriter-guitarist Jim Peterik. “A simple thing called spirituality. When it’s only about mistletoe and eggnog, it kind of misses the point. I don’t mind fun Christmas songs, believe me, but there also has to be some substance.”
Peterik’s longtime band, the Ides of March, has released two Christmas albums over the years, and this year, is releasing its third, “The Meaning of Christmas.” “Are we forgetting the meaning of Christmas in all the hoopla? That’s the whole idea: where did Christmas start? Why do we celebrate it? That’s my goal, really. And they’re not all religious or spiritual songs but there’s a thread that’s running through them: let’s not forget the meaning of Christmas.” Read the rest of this entry »