If you’re ever tired of hearing standards, coax guitarist Marc Ribot into playing them. Reconciling the Dave Brubeck original and what’s called “Take 5” on Ribot’s latest work with his trio, Ceramic Dog, is almost too difficult to do. A phrase kicks up every once in a while harkening back to the ur-recording, but the punky rhythm section allows Ribot to lose it and wander back into the fold. The tact Ribot takes here is roughly how he approaches whatever can be considered jazz today. Having worked with gutbusters like Tom Waits and chord chompers like McCoy Tyner allows for a ridiculous range of music to hue Ribot’s guitar playing. Dude’s confident and adventurous enough to take Mary Halvorson, another guitarist, on tour—something folks more concerned with the spotlight than the end product just wouldn’t do. Read the rest of this entry »
Those who expected this compilation to feature the likes of Marisa Monte, Gal Costa or even newer names like Bebel Gilberto or Cibelle will be disappointed at first—this release contains none of their songs. Instead, we are presented with few names ever heard Stateside save for Luisa Maita or Mart’nalia, who have regularly toured in the US. The disc opens with Italy-based Nossa Alma Canta’s “Bossanova,” a tune that remembers the Brazilian movement that swept the world with the help of Stan Getz and Charlie Byrd. The tune name recalls many familiar hits like “Wave,” “Desafinado” while playing snippets of familiar tunes via instrumental interludes. Read the rest of this entry »
The excursion boat Theodore Roosevelt heads east under the State Street bridge in 1910/Photo: The Lost Panoramas (CityFilesPress.com)
By Dennis Polkow
City on a river. Chicago is many things, but whatever qualities that make Chicago Chicago exist in no small part because it is a city on a river, albeit a river by and large taken for granted.
For many of us, our own placement as a city on a river is something we forget about until we are inconvenienced by having to go over a bridge or have to wait for a bridge that a boat is passing through or that is undergoing construction.
“The Chicago River is the city’s defining characteristic because it is what built the city,” says Martha Gilmer, vice president for artistic planning and audience development at the Chicago Symphony Orchestra as well as the curator of the CSO’s month-long Rivers Festival which runs May 9-June 9. “The river has taken a second place to our lakefront, but Mayor Daley—and now Rahm Emanuel—is very interested in the development of the Chicago River.” Read the rest of this entry »
Photo: Benedict Smith
The perception of Lonnie Smith as an organ deviant stems from a variety of career choices. Being plucked up outta Buffalo by guitarist George Benson and incorporated into his funky quartet, Smith came to prominence amid the bandleader’s combination of swing and grace. Of course, the sporadic covers worked up by the quartet, including “All of Me” from 1966’s “The George Benson Cookbook,” made for some shoddy territory. And while Smith hasn’t taken to the mic to regale listeners with favored lyrical numbers, he has laid into “Sunshine Superman.” Wading into popular music didn’t relegate “Boogaloo” Joe Jones or “Groove” Holmes to lesser-known status, but the industry’s constraints weighed on Smith, stifling his ability to move beyond genre limitations his early career helped define. From the mid-1960s through the following decade, Smith released visually and aurally singular works—his “Think!” remaining one of the strikingly designed Blue Note albums of the era. Read the rest of this entry »
A decade after her smash hit “Thank You” put this English singer on the pop map and five years after 2008’s “Safe Trip Home,” Dido reemerges with this concise album that brings together all the nuances of her style, blending folk-rock, electronica and straight-ahead pop. The album opens with the acoustic ballad “No Freedom,” whose lyrics reflect on the necessity of allowing people to have freedom within the confines of a relationship. The title track makes a playful allusion to the lover “who got away,” the sort of utopian dream-like person who many of us were unable to keep by our sides. Read the rest of this entry »
Japanese-born Hiromi Uehara is well-known for her great technique, speed and also eloquent live performance style. Her style has caught the attention of jazz icons like Chick Corea and his Return to Forever bassist Stanley Clarke, who have both cut albums with her in recent years.
Uehara returns to form as a bandleader with “Move,” an album made in collaboration with Anthony Jackson (bass) and Simon Phillips (bass drum), two musicians who have broad experience both in the jazz and pop worlds. “Move” differs from her earlier releases because she explores a varied amount of sounds, going with contemporary tunes like the uptempo title track and the rock-tinged “Endeavor,” the latter of which evokes more of a jazz-rock feel with progressive notes. “Rainmaker” has more of a classical influence, as she explores her piano’s keys with gusto while Phillips and Jackson provide a subtle but highly effective backbeat. Also notable is “Suite Escapism: Fantasy,” a beautiful melody with psychedelic overtones that brings to mind Paul McCartney’s early solo work. Read the rest of this entry »
By Dave Cantor
Guitarist Pat Martino’s made a concerted effort to traipse through life in the most healthy way he can. In part, it’s to combat the effects of an aneurysm, which swiped a huge chunk of his memory toward the tail end of the 1970s. But speaking over the phone from his home in Philadelphia, coughing interrupts the sixty-eight-year-old jazzbo’s insights.
“Excuse my cold. I’ve got a cold,” he says.
Avoiding the flu this winter has presented itself as a difficult proposition. Even adhering to a yoga regimen and a diet consisting mostly of fruits and vegetables doesn’t always get it.
“There are times when I’ll fast for two days,” Martino says of efforts to retain a healthful lifestyle, adding that he prefers to perform on an empty stomach.
Touring doesn’t always enable him to feast on his favorite greens, but like the music Martino’s engaged with there’s a fluidity to daily habits. He doesn’t expect to be presented with what he desires regularly, so like an empathetic ensemble player, he adapts. Read the rest of this entry »
Marcos Valle is probably best known Stateside as the writer of “Summer Samba” via its various recordings by the likes of Astrud Gilberto, Connie Francis and the Walter Wanderley Trio back in the sixties, but the fact is that he has had a very prolific (if rather erratic) career in which he has experimented with various musical genres, especially in his most creative phase in the early seventies, which has recently been rediscovered via new recordings by younger Brazilian artists like Curumin and Bebel Gilberto.
This renewed interest in Valle’s seventies output has prompted a rerelease of four of his albums, all originally released between 1970 and 1974 before he relocated to the U.S., where he lived and worked until the early eighties. These discs show his evolution both as a songwriter and a performer. Back then he took many musical risks, experimenting with sounds that were unheard of in Brazil.
The first of these is the self-titled “Marcos Valle” (1970), which was made after he returned from a brief stay in the United States. Here he still seems tied to the sounds of bossa nova-era Brazil (after all, he scored his first, and still best-known, hit in the genre), but willing to look beyond that by employing electric instruments. On “Garra” (1971), on the other hand, he seems willing to break free from the older wave with hippie anthems like “Mais de 30,” where he sings that you can’t trust “anyone over 30” while sending a heartfelt bossa-like message to his mentor Antonio Carlos Jobim with “Ao Amigo Tom.” Read the rest of this entry »
Photo: Janette Beckman
Singer-songwriter Jose James has a lot of jazz in his sound thanks to the longtime influence he has had from the genre and also the experience with performing with giants like Wynton Marsalis, McCoy Tyner and others. When he first started out, he was more of a jazz vocalist with urban tendencies than anything else. As the years passed, however, he has finally found his sound, which can be described as a blend of hip-hop and R&B with strong jazz undertones.
This is evidenced by two songs from his fourth disc, “No Beginning No End” (Blue Note). “It’s All Over Your Body” opens mostly with drums and percussion, and a soft bass line joins in shortly before James’ almost whispered baritone comes in. The instrumentation is subtle (with some brass added for good measure) so the listener focuses on his voice and the message he wants to deliver, while the blues-inflected “Trouble” feels like a classic Motown-era track without sounding dated. James’ delivery is straightforward, honest and refreshingly Auto tune-free. (Ernest Barteldes)
January 30 at Lincoln Hall, 2424 North Lincoln, (773)525-2501, 9pm. $15.
The British duo formed by keyboardist Andy Connell and Corinne Drewery had a string of hits during the late eighties and early nineties, including memorable tunes like “Am I The Same Girl” and “Mama Didn’t Raise No Fool.” Twenty-five years later, they continue to tour and record regularly.
On “Private View+2,” they revisit their early hits and some mostly unknown songs. By listening to the album, you can see how they have evolved—they have embraced more jazz-influenced sounds that are probably owed to their past collaboration with musicians like Luis Jardim (percussion).
The album has more of an acoustic direction—“Mama Didn’t Raise No Fool,” for instance, is devoid of any electronic instruments. Connell inserts a snippet of the Doris Day classic “Once I Had a Secret Love” and Drewery sounds very comfortable in this more relaxed atmosphere. The cover of The Delfonics’ “La-La Means I Love You” is arranged around the acoustic bass, and has more of a light-jazz feel. Read the rest of this entry »