Frank Sinatra Jr.
By Dennis Polkow
“There is a lot of traffic out there in this kind of show for this year,” admits Frank Sinatra Jr. on the myriad of Sinatra salutes happening throughout 2015, the centennial of his father’s birth. “Many, many people have taken it upon themselves to do this kind of thing. They can, of course, recreate the music. But because this is the one-hundredth anniversary, I felt it was very important that people also learn something about the individual.
“We’re no longer talking about a man who is a famous performer, a famous movie star. Now we’re talking about somebody who is being time-honored with a century of recognition. For that reason, I think it’s time to know that person. We already know his accomplishments, now let’s concentrate on the person.”
From the beginning of his own career some fifty years ago, Frank Jr. always performed “at least a song or two of Sinatra,” as he calls the public figure, “but I worked hard to have my own identity.” Read the rest of this entry »
Jazz Fest ambles into town the first weekend of September, and as usual there’s a sense of having waited for the larger and noisier summer festivals to yield the lakefront in exhaustion, so that the grownups can move in and get down to the serious business of making serious music. Among the many highlights will be Friday’s appearance by composer/pianist Fred Hersch, whose latest CD release is a solo outing (entitled, rather unenterprisingly, “Solo”) that’s garnering ecstatic reviews from the cognoscenti. But for Jazz Fest he’ll be heading up his trio, which includes bassist John Hebert and drummer Eric McPherson. Read the rest of this entry »
By Keidra Chaney
Lollapalooza is the juggernaut and Pitchfork the tastemaker’s favorite, but for me Riot Fest is the best music festival in town. As a rocker at heart, I’ll cop to a strong bias: the festival started as a multi-venue underground punk and metal showcase, and it’s currently one of the few festivals to stay (for the most part) true to its rock roots over the years. But there’s a lot more live music to check out in the next couple of weeks outside of Riot Fest, including North Coast Festival, if hip-hop, EDM and jam bands are more your speed, and an eclectic group of DJs and musicians paying tribute to Kate Bush.
Before the festival season wraps in Chicago, on September 3 at Beat Kitchen (2100 West Belmont) there’s a sucker punch of peppy garage punk with the city’s own Swimsuit Addition opening for St. Louis duo Bruiser Queen. Their 2014 full-length “Wretched Pinups” is like listening to nineties riot grrrl bands, surf-punk, eighties new wave and a little sixties girl group mixed in a sonic blender. (You can also check out a new remix of their single “Talk is Cheap” on their Bandcamp page.) Show starts at 9pm and is 17+; tickets are $8. Read the rest of this entry »
Moor Mother Goddess
Back in 2013 I first wrote about the Black and Brown Punk Show; sadly my comments about Chicago’s diverse but largely segregated rock music scene pretty much still stand two years later. But I want to call attention to this year’s festival as it’s an overlooked gem of an event that our city has the honor of hosting annually.
Over two days, twenty-plus punk acts come to the city in an all-ages celebration of Chicago’s multiracial, DIY punk scene that is also a safe space for queer and trans folks of color. Read the rest of this entry »
Chicago’s Mick Jenkins put on quite a show on a recent Friday night, but he didn’t rap a single verse. Instead, the Music Room at Soho House hosted a listening party with Jenkins and St. Louis painter Hayveyah McGowan, where they described the creative process behind Jenkins’ newest project, “Wave[s]” (release date August 21). With guidance from Fake Shore Drive’s Andrew Barber, Jenkins and McGowan delineated how their collaboration originated.
After spending a year and a half on his previous release,“The Waters,” Jenkins didn’t feel like the concept project got enough traction from the public—despite its critical acclaim. So he put together this newest project more as a collection of compositions than a record with an “end-to-end” theme, and did so in a matter of months. But he still wanted a consistent artistic through-line, and Jenkins commissioned McGowan to create a large-scale painting inspired by each of the tracks, all of which were on exhibit at Soho House. Read the rest of this entry »
Carlos and Raffaela Kalmar with newborn son Luca Pedro. Photo Courtesy of Carlos Kalmar
By Dennis Polkow
“He’s such a joy,” says proud father Carlos Kalmar of his son Luca Pedro, who was born on the last day of 2014. “It’s really great, I’m very happy. I don’t know if having a newborn makes you a bit more soft, that is for others to say. But it adds a component to life in general that is somehow reflected in your work when the occasion is given. In music, sometimes the depth of what we do may get even deeper. But who am I to judge?”
Kalmar has two children from a previous marriage and even a grandson. “I have started over,” he laughs. “I have two daughters who are twenty-seven and twenty-five. When you’re older, or to some extent older, I think the influence of children on you is amazing. I’m not talking about grandchildren, they are fantastic: I have one, but I don’t see him very often because he lives in Europe. But to have a child of your own when you’re older changes some things. And it’s all for the better.”
Renewal remains a virtual archetype for Kalmar, who thrives on new challenges and on learning, performing and introducing audiences to new pieces. For the closing weekend of the Grant Park Music Festival, for instance, Kalmar will conduct the Grant Park Orchestra and Chorus with guest vocal soloists in a rare complete performance of Elgar’s oratorio “The Kingdom.” Read the rest of this entry »
By Gail Dee
Tinariwen, an ensemble from the Sarahan desert of Mali (coming to Old Town School of Folk Music, 4544 North Lincoln, August 26, 8pm, $38/$36 members), is the Tuareg band upon which we measure all the rest, because it’s desert blues at its finest. The group’s first performance in Chicago was in 2004 at the Chicago Cultural Center and they have been back several times. (One unforgettable night in 2011, after growling unhappily at Metro’s staff for putting me in second-floor handicapped seating far from the stage because I was on a crutch, I serendipitously ended up dancing with the Tuareg ladies who were part of the tour—the stage door opens upstairs to a reserved seating area!) Their style of music is considered to be the roots of the American blues; it’s trance-inducing, and as expansive as the desert, with band members trading electric-guitar riffs like heat shimmering on the horizon. The simple rhythms are reminiscent of camels walking in the sand for hundreds of miles. Lyrics speak of sadness and rebellion, as these nomadic people have endured civil unrest and war in their homeland for many years. However, the same night I was happily grooving on a crutch with the lovely ladies in long robes, my companion—a jazz drummer—was critical of what he called repetitive rhythm and thought the graceful, languorous movement of the dancers wasn’t much. I reminded him of the Saharan heat and said I didn’t think it would be the place for break-dancing. Personally I’ve never been disappointed by Tinariwen. Read the rest of this entry »
By Corey Hall
Envision the Aqua Tower, 225 North Columbus Drive, on its side in black and white. This image could be in motion but is actually frozen in time with a watery, wave-like feel, as created through photographer Scott Hesse’s lens. This image—complete with color and complementary crop by a graphic designer–is the cover art for Hesse’s trio’s new album, “The Stillness of Motion,” whose CD release party is on August 14 at Constellation.
Hesse, a Chicago-based jazz guitarist who has performed with Greg Ward, Dee Alexander and Ernest Dawkins, among many others, believes that recording music is similar to documenting life through photography. “This music is very fluid and always changing, but when you capture it on a recording, it freezes moments in time, like what happens in a picture,” says Hesse, who is joined on the album by bassist Clark Sommers and drummer Makaya McCraven. “You can definitely hear the movement and evolutions taking place… but it’s never going to be that way again.” Read the rest of this entry »
By Robert Rodi
This is the first in a series of profiles of Chicagoans who have enriched both the city’s and the country’s musical life. Succeeding entries will appear on an irregular basis.
Every baritone jazz singer has to stand comparison to Frank Sinatra, whose shadow looms over them so unremittingly, you want to take pity and just equip them all with miners’ helmets. And it’s true that in terms of sheer tonal beauty, Kurt Elling—the bari-jazzman of the moment—doesn’t quite match his famous forebear. Elling’s wiry, scrappy, middleweight-boxer of a voice, marked (or marred, depending on your point of view) by the occasional flatness of Chicago vowel sounds (he was born here in 1967), is an entirely different animal from Sinatra’s opulent, resonant, cello-like instrument. Sinatra’s voice is all roundness and legato; Elling’s, at its most characteristic, is serrated and staccato.
And yet the way in which Elling doesn’t quite measure up to Sinatra pales into insignificance next to the many ways in which he surpasses him. Elling’s range is an astonishing four octaves, double that of Sinatra’s, and his boundless facility for improvising is so far beyond anything Sinatra ever exhibited, there aren’t even analogous samples to set side by side for comparison. Read the rest of this entry »
Orquesta Buena Vista Social Club
By Gail Dee
Chicago’s music scene will make history as the stars align serendipitously to bring two of Cuba’s most famous musical acts in the same week: the legendary dance band Los Van Van and the Orquesta Buena Vista Social Club for its Adios Tour—not to mention the almost immediately following Festival Cubano.
Given the recent thaw in Cuban American political relations, people might soon forget the anticipatory thrill of being able to see authentic Cuban music live in the United States. Not so long ago, it was forbidden fruit. Club owners like Marguerite Horberg of HotHouse and Ray Quinn of Martyrs’ took chances bringing the music to us. Shows were picketed and frequently shut down amidst threats, protests and boycotts against the Cuban government by Cuban Americans. I remember the joy of listening to the lovely, romantic, traditional Cuban music called son montuno in 1997, when the “Buena Vista Social Club” album was released, and the excitement of seeing them all live on stage for the first time at the Chicago Theater. Cuban son (a style of music that combines the singing and guitar stylings of Spain with the rhythms and drumming of Africa) and other music by the Buena Vistans wasn’t actually popular in Cuba at the time—the songs represented the golden age of Cuba in the forties and fifties; still, for millions of English-speaking people the Spanish lyrics of “Candela” and “Chan Chan” became almost as recognizable as “I Want To Hold Your Hand.” The remaining handful of original members coming to Ravinia are now touring together for the final time. Read the rest of this entry »