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 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 »
To honor the late tenor saxophonist Von Freeman and his Tuesday night, jam-till-the-early-moanin’ blowing sessions, vocalist Margaret Murphy-Webb and instrumentalist Anderson Edwards started the Jazz Jam Revival at the 50 Yard Line on East 75th, about half a mile west of where Vonski hosted his séances of sound. Now, some three years later, with the Revival still going strong, Murphy and the newly formed South Side Jazz Coalition (SSJC) are determined to reestablish another local tradition: the South Shore Jazz Festival, originally presented by Geraldine de Haas’ Jazz Unites from 1981 to 2012, and held at the South Shore Cultural Center. (De Haas and her husband relocated to New Jersey in 2013 to be with their children.) “The South Shore Jazz Festival was a tradition for Southeast Chicago and the southern suburbs,” says Murphy-Webb. “Everybody came out for this festival. It was just a wonderful time with all the cookouts, vendors and great music.”
Read the rest of this entry »
I used to love catching lePercolateur at the old Katerina’s on Irving Park. There was something about that narrow, dark-paneled room that struck me as faintly European—with its stage tucked modestly between the bar and the kitchen, so that every performance was infiltrated by tinkling ice on one side and swinging doors on the other (which on a good night always seemed to be in time). And lePercolateur is all about the continent. The band owes its chief inspiration to the gypsy jazz pioneered by Belgian guitarist Django Reinhardt—that is, everyone in the band but vocalist Candace Washburn, whose Gallic sophistication owes more to cafes than campgrounds (you can’t imagine anyone for whom the term “chanteuse” is more appropriate). Read the rest of this entry »
By Robert Rodi
There are few musicians more fondly remembered in Chicago than tenor sax giant Von Freeman, who died in 2012. So when Freeman’s son, Chico, also a sax man, and brother George, a celebrated guitarist, came together to record for the first time, it was hard to avoid invoking Von’s memory… especially since they chose to call the album “All In the Family.” (Titling one of the cuts “Vonski” didn’t help, either.) But beyond the nod to their late relative’s legacy, the two surviving Freemans manage to make the music entirely their own. Comprising all-original compositions (with the exception of the haunting standard “Angel Eyes,” plus a smattering of very short improvised pieces that serve almost as amuse-bouches between the more substantial tunes), “All In the Family” plays like an intergenerational conversation between George’s burnished, impeccable guitar and Chico’s deft and energetic sax. Read the rest of this entry »
Seun Kuti / Photo: Johann Sauty
By Gail Dee
What a conundrum that the vast majority of western music enjoyed today—rock ’n’ roll, blues, jazz and hip-hop—has roots in African music spread through suffering. Slavery’s tentacles stretched wide. This cultural diaspora isn’t limited to the U.S. and Caribbean, but extends to Mexico (with Son Jarocho), Colombia (with cumbia and champeta), Peru, Brazil and Uruguay. Even the Argentine tango has its origins in the African slave trade, though Argentina itself is often considered a European (i.e. culturally white) country. The story is told in the film “Tango Negro: The African Roots of Tango” on June 18 at Facets Multimedia (1517 West Fullerton, 8pm, $9).
And the story doesn’t stop there. Like a snake consuming its own tail, the funky soul of James Brown, the acid rock of Jimi Hendrix, the cool jazz of Miles Davis and salsa from New York City then traveled back across the Atlantic and influenced popular music throughout Africa.
This summer, an abundance of exceptional African and Afro-Latin music comes to Chicago, bringing opportunities to check out the amazing diversity of the Afro-musical melting pot. And don’t assume the sound is all about drums; jazzy horns, electric guitars and electronica also prominently propel the dance rhythms. It’s going to be one heck of a hot, sexy summer. Read the rest of this entry »
As an aficionado who does a fair bit of proselytizing in an attempt to get people to listen to modern, improvised jazz, I hear a lot of resistance along the following lines: “It’s cerebral.” “It’s dissonant.” “It’s complex and hard to follow.” To which I always reply: “You say that like those are bad things.” But in a sense I understand; while there’s plenty of fire and ice in most new jazz, there’s not a lot of… friendliness, for lack of a better word—a welcoming hand, extended toward the listener to invite her onto an unfamiliar soundscape. Which is where Shawn Maxwell comes in. Read the rest of this entry »
Blues, Chamber Music, Chicago Artists, Classical, Folk, Interviews, Jazz, New Music, News and Dish, Orchestral, Pop, Rock
Kimo Williams (left) and Gary Sinise with Lt. Dan Band
By Dennis Polkow
“When I tell people I’m a Vietnam Vet, I hear, ‘Thank you for your service,’ ” laments composer and guitarist Kimo Williams. “There’s a time, there’s a place for saying that. It just rolls off of people like a painful cliché and you’re forced to react or respond. Do you know what my service was? Do you know what I did? Hear my story, then if you want to thank me, fine.”
Williams has spent a lifetime of service to those who have been in service, starting with his own stint in the military that brought him to Vietnam in 1969. “I was a combat engineer and my job was to provide supplies to fix the dossiers that would clear land mines. Two friends of mine and I had decided one morning that we were going to see ‘2001: A Space Odyssey’ that night. It got to be the end of the day and I’m getting the popcorn but was told, ‘They didn’t make it.’ That was the first time that it hit me. I was so naïve I said, ‘What do you mean?’ It hit me hard, this was forever. That’s it? I went to the movie and you do continue on. It numbs you.” Read the rest of this entry »