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 »
Photo: Brian Hieggelke
By Craig Bechtel
Festivalgoers receive their tickets and passes with the caveat that the shows will go on “rain or shine.” But there’s always the caveat that if high winds and lightning pop up on the radar, all bets are off, and attendees of Lollapalooza Day 3 had to wrestle with the forces of Mother Nature, not once, but twice.
Sunday started hot and humid, and skies were sunny as Australian trio DMA’s treated those in attendance at the Pepsi stage to their jangly, echoey guitar pop. DMA’s are clearly inspired by the mid-nineties Britpop tradition, à la Oasis, Blur, Happy Mondays, etc., who themselves were born of NME C86 influences like The Mighty Lemon Drops, The Shop Assistants and The Wedding Present. Whether this was apparent to the crowds enjoying their set at the Pepsi stage was unclear—they may have been there based on the strength of the band’s “Laced” single, which has garnered some airplay on local AOR radio station WXRT, was a song of the week for KEXP and garnered a review in Entertainment Weekly last fall. Read the rest of this entry »
By Robert Rodi
Sunday afternoon I had my first concentrated dose of Twin Peaks. I’m not generally drawn to this kind of act—you reach a certain age, you find your appetite for brash young guitar bands has been satiated almost to the point of aversion—but I love a local success story, and these Chicago natives have had an amazing year since they slashed their way to stardom at Pitchfork last year. Their album “Wild Onion” became both a critical and commercial success, launching them on an extensive national tour, and now they’d returned home in triumph to play Lollapalooza.
It was easy to see they were stoked. Almost from the moment they took the stage, they were hurling themselves around like sock puppets. I’ve heard enough of “Wild Onion” to know that there are some wryly rueful and even mildly cerebral tunes in their repertoire, but for their Lolla set it was pretty much power-chord overload. Their fans—who were many—seemed to love it, and the guys fed on that energy so that their performance rapidly went from propulsive to convulsive. Seriously, there was so much thrashing and pounding and leaping around, I wouldn’t be surprised to learn the entire Sprint stage had shifted a few inches during their set. Read the rest of this entry »
Ambient, Blues, Chicago Artists, Festivals, Folk, Interviews, New Music, News and Dish, Orchestral, Pop, Rock, Singer-Songwriter, Vocal Music
Paul McCartney, Martin O’Donnell, Michael Salvatori
By Dennis Polkow
Martin O’Donnell and Michael Salvatori have been friends back to their college days in the 1970s when they were in rival bands in the western suburbs. “We’ve always been very competitive with one another,” Salvatori recalls. “Marty came in to record five songs with his band, so of course, I had to write better songs and record those as well.”
While Salvatori was working for his father’s printing company, O’Donnell was painting houses to put himself through music school. “They were shooting a television commercial and Marty was painting the set. The director found out that he was a composer and offered him five hundred dollars if he would write some music for it. I had just taken out a loan for a basement recording studio setup and Marty called up and said, ‘If you let me record there, I’ll split everything with you fifty-fifty.’ We put ourselves out there on a handshake and collaborated on the commercial as O’Donnell-Salvatori, like Lennon-McCartney. It has been that way ever since.” Read the rest of this entry »
James Conlon/Photo: Ravinia Festival
By Dennis Polkow
“After I became music director eleven years ago,” says Ravinia Festival music director James Conlon, “it was so interesting how many people I would meet around the country, or Americans I would meet in Europe, that would say, ‘You know? I heard my first concerts at Ravinia.’ I started to think that everybody grew up on the North Shore of Chicago and somehow or another moved to another place in the world. It is astounding how many people of all ages were formed there, from twenty-year-olds to eighty-year-olds, and how many people Ravinia has been able to reach in its way and introduce classical music to them. Of course, the trump card of the Chicago Symphony is the best way you can do that. It was very striking to me and I am very proud to be a part of that tradition and process and hope it will continue on forever.”
Nonetheless, Conlon announced last August that the 2015 season would be his last as Ravinia music director, and that 2016 would also end his music directorship of the Cincinnati May Festival after thirty-six years. Instead, he will become the first American to ever become principal conductor of the Orchestra Sinfonica Nazionale della Rai in Turin, Italy. 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 »
Kenji Bunch/Photo: Erica Lyn
By Dennis Polkow
“I don’t think it’s a coincidence that so many composers have been attracted to the viola,” says violist and composer Kenji Bunch. Like Bach, who noted that he enjoyed playing viola because he was always “in the middle of the harmony,” Bunch observes that “it lets you experience music from the inside out and you really get a unique perspective on how things are put together.
“If you sing alto or tenor in a choir rather than soprano or bass, those are the hard parts to hear and be able to pick out the right notes for those funky inner lines rather than the more obvious top or bottom lines. I think the viola really finds you. It’s suited for a certain kind of personality that is interested in more offbeat things, literally offbeat things.”
Since the viola is a darker-colored instrument with less brilliance than its more popular cousin the violin, “we don’t have a lot of traditional repertoire written for our instrument, which means we violists usually gain exposure to twentieth century music a lot sooner than violinists or cellists do. 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 »
Blues, Chamber Music, Chicago Artists, Classical, Country, Folk, Folk-rock, Interviews, Jazz, News and Dish, Pop, Prog-rock, Psychedelic, R&B, Rock, Singer-Songwriter, Soul
By Dennis Polkow
Although Chinese superstar pianist Lang Lang is calling from London, where he’s just given a recital at Royal Albert Hall, he is thinking ahead to Chicago. “I need to buy a new suit, I had my big breakthrough there,” he recalls, a reference to when, at conductor Christoph Eschenbach’s encouragement, he stepped in as a last-minute, unknown replacement for an indisposed Andre Watts at a 1999 Ravinia Festival Chicago Symphony Orchestra Gala, and became an overnight sensation at the ripe old age of seventeen.
Eschenbach, then Ravinia music director, was a mentor to Lang Lang, as was then-CSO music director Daniel Barenboim, so that Chicago was like a second home. He was the first artist to offer a piano recital at the Civic Opera House in 2012, and was so impressed with the sound of the venue, that he returns there this month. “When you see such a big hall, you always worry about, ‘what is the sound like?’ But it has perfect sound. I remember last time, I was playing Mozart, it was so beautiful, so precise, so intimate. It’s a miracle to see such a big space have such an intimate sound.” 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 »