In the sixteen years since his death at the hands of homophobes, Matthew Shepard has become the face of gay martyrdom, and his image—forever young, forever tousle-headed, forever tragic—has permeated gay culture. But that image’s power is redoubled by the almost equally iconic efforts of his mother, Judy Shepard, who turned grief into activism and established a foundation in her son’s name, dedicated to eradicating hate crimes. It’s Judy’s influence that has resulted in the unlikely event taking place on May 3: a benefit featuring an impressive lineup of Chicago musicians, the majority of whom are heterosexual and almost all of whom specialize in jazz—not a genre often associated with gay causes. Read the rest of this entry »
Chamber ensembles channeling rock-band dynamics is nothing new, and no one drops a jaw anymore when a string quartet squeezes a Radiohead tune between pieces by Michael Nyman and John Adams. What’s left is to perfect the fusion—to achieve the kind of seamlessness in performance that makes disparate pieces cohere into an artistic point of view. eighth blackbird (the lowercase caps are deliberate), the Chicago-based sextet, has a pretty impressive track record at this kind of thing, and its latest recital is a good example of why. Read the rest of this entry »
By Corey Hall
Silently, the musicians in the Chicago-born Association for the Advancement of Creative Musicians (AACM) stand and face east before a single note is expressed. This, according to Muhal Richard Abrams, the Association’s co-founder, is because all life originates in the east. If any evil energies exist in a performance space, the musicians must wear war paint and masks for protection. This tradition has characterized AACM presentations since 1965.
The organization celebrates its golden anniversary this month, beginning on April 22 with a performance by the Hanah Jon Taylor Artet at The Promontory and culminating in a collaborative finale, “Together: A Power Stronger Than Itself,” at Mandel Hall on April 26, in which fifty AACM members perform as one. In between are recitals and concerts at various venues around town, by artists such as Saalik’s Epoch Zed, cellist Tomeka Reid and The Colson Group.
Drummer Dushun Mosley and violist Renée Baker—two AACM members who are participating in multiple performances during the celebration—recently spoke about why this cooperative association still matters. Read the rest of this entry »
Cameron McGill, Angela Mullenhour
By Keidra Chaney
It’s hard to believe we’re already four months into 2015. It’s particularly unbelievable that—at least to me—it’s so far been a pretty uneventful year for indie music, local or otherwise. Of course the weather’s been in a pretty soul-killing state until very recently, which has made going out for live music a bit more of a chore, but there’s also been something of a demo drought in my neck of the woods. There’s plenty of time to catch up, and Chicago tends to be at its best in spring and summer, so it’s my hope that the next few months will make up for a rather barren winter of music news and events.
That’s not to say that there’s not some good live music to check out in the next few weeks. I mentioned the Gapers Block-sponsored “Stars Align” series several columns ago; it features two musicians from different local bands collaborating for a one-night-only live performance. This month’s show, on April 16, promises to be a special one, because instead of performing covers or each other’s tunes, singer-songwriters Cameron McGill and Angela Mullenhour (of the band Coins) will perform newly co-written original songs at GMan Tavern (3740 North Clark). The show’s free, as usual for the series, and starts at 7:30pm. Read the rest of this entry »
An enticing array of live shows spanning the globe is coming to Chicago in mid-April. If you’re an international music lover you’ll want to see as much as you can. After this bountiful world-music weekend, the touring-artist landscape is a bit lackluster until summer. Some highlights:
On April 17, Sierra Leone’s Refugee All Stars come to Martyr’s (3855 North Lincoln; $17/$20 DOS). As its name suggests, the band was formed in a refugee camp where its members were displaced during the Sierra Leone Civil War. They’ve become increasingly popular in Chicago over the past decade—they visited us twice last year alone. Their most recent Mayne Stage show was one of the most joyful I’ve ever attended; the crowded dance floor grooved happily to the lilting guitar riffs of soukous, African highlife, and the reggae-like rhythms of baskeda. Last year the All Stars returned to their acoustic roots with the release of “Libation,” their fourth album in their ten-year history. Their success is a testimony to human resilience that continues to inspire us. Read the rest of this entry »
Typhanie Monique, JQ
It makes perfect sense to book a band into a theater—at least when the band is Booty Movement Coalition (affectionately known by aficionados as BMC) and the theater is the Mission at the new iO (formerly the ImprovOlympic). If you expand the concept of improv beyond stand-up and sketch comedy to encompass all the live arts, you end up with a much wider performance palette; and that appears to be the Mission’s mission, as they’ve committed to an ongoing series of music Mondays. BMC, for its part, has the distinction of being a ten-to-fourteen-member band which since its founding in 2009 has never given the same performance twice—because every single note is improvised, on the spot. Read the rest of this entry »
Pacifica Quartet: Masumi Per Rostad, Sibbi Bernhardsson, Simin Ganatra, Brandon Vamos
By Dennis Polkow
The diversity of music that was composed during the First World War will be spotlighted during a special Pacifica Quartet-conceived University of Chicago Presents festival called “Centenary Weekend: The Crossroads of World War I and Music,” which will include six concerts across a single weekend.
“We did a recording eight years ago called ‘Declarations’ which was music written between the wars,” explains Pacifica violinist Sibbi Bernhardsson. “One of the things we have been talking about a lot was that the early part of the twentieth century was perhaps the most varied time when it came to different types of great music being written, different styles and idioms when there was so much going on. Entering into the centennial of World War I, we thought it would be interesting to make a festival where we highlighted exactly that.” Read the rest of this entry »
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 »
In recent years, Brazilian-born Eliane Elias has been exploring the music of her native country (as opposed to the contemporary-oriented albums of her early career). For her latest album, she even got out of the comfort zone of recording Stateside in favor of a studio in São Paulo—something she had not done since she emigrated. “I had this desire to record in Brazil,” she says prior to an appearance at New York’s Birdland jazz club. “However, I was already used to working with my team here, and that included having Oscar Castro-Neves coming from Los Angeles. But since Oscar passed, I thought that it was time to do something in Brazil within our climate, our language.” 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 »