Eleni Vitali, George Dalaras, Glykeria
By Robert Rodi
One of the features we associate most closely with Eastern music is melismatic singing and playing—i.e., running a sequence of notes during a single syllable. Granted, this is a hallmark of Western music as well; it’s standard in both baroque opera and American R&B. (It’s also been pushed to absurd extremes by the current trend of “oversouling,” practiced by pop singers who can’t sing a single phrase without sprinting up and down the scale like maniacs.) But Eastern Europeans do it differently; there, melisma doesn’t involve a run of notes over a syllable, but a continual bending and reshaping of a single note, to incantatory effect. It’s how you instantly recognize Arab and Turkish music; but it’s a big part of Greek music as well—the Greeks having picked it up during their centuries of Ottoman rule. The difference is chiefly that where Arab and Turkish melisma has a spiritual quality, the Greeks are best at using it to convey earthiness and sexuality.
This month, the Harris Theater hosts a memorable night featuring three singers who have been labeled “the Holy Trinity of Greek music”: Glykeria, Eleni Vitali and George Dalaras. Each is a virtuoso handler of the more sophisticated, relaxed Greek melisma that evokes the pleasures and pains of the material world. Read the rest of this entry »
This is Billy Strayhorn’s centenary, and it’s been heartening to see so much attention paid to a songwriter whose gifts are almost in inverse proportion to his fame—i.e. the former stratospheric, the latter microscopic. Part of the problem is that Strayhorn is so closely associated with Duke Ellington, who was one of the more flamboyantly extrovert of the past century’s geniuses. Another part is that Strayhorn himself was quite happy to reside in Ellington’s shadow. The result is that today people are surprised to learn that tunes indelibly associated with Ellington—such as “Lush Life,” “Chelsea Bridge” and “Take the ‘A’ Train”—are in fact Strayhorn’s compositions. It’s hard for us to think of them in a new way; they’re so bonded to our DNA. Read the rest of this entry »
Jazz has always been a meritocracy, in the sense that hooks matter more than looks. But that doesn’t mean we can’t appreciate a concentrated dose of oomph when it’s right there in front of us. Peggy Lee worked it. So did Nina Simone. And the New York singer-songwriter Somi (born in Illinois to Ugandan and Rwandan parents) has the same kind of high-voltage charisma. She also has an absolutely exquisite instrument—graceful, gorgeous and under her complete control. In the fifties, she’d have knocked ‘em dead in supper clubs; today, she’s slaughtering digitally, in ravishing videos like her simmering R&B ballad, “Ginger Me Slowly.” Read the rest of this entry »
Old Town School of Folk Music is hosting the Allos Musica quartet on one of its upcoming World Music Wednesdays. Which is a bit of a cheat, because the group is made up entirely of local boys. Its prevailing genius, in fact, is James Falzone, who’s so active in Chicago jazz, classical and early music circles that you can’t swing a dead cat without clipping his clarinet. Yet while Allos Musica doesn’t have to hop an ocean to get here, the inspiration they carry onstage with them has a pretty extensive global pedigree. Besides Falzone, the group boasts Ronnie Malley on oud and harmonium (he occasionally sings as well), Jeremiah McLane on accordion and Tim Mulvenna on hand drums and percussion; and when they sit down together and launch into a tune, the time zones drop away—the centuries, too. Their repertoire is highly distinctive; there are shimmeringly sinuous Arabic numbers, around which Falzone’s clarinet circles like smoke rings; but there’s French music, as well—maybe not as strange a pairing as it first appears, given the history of French colonialism in places like Morocco and Senegal. Read the rest of this entry »
By Dennis Polkow
Estonian composer Arvo Pärt turned eighty last month, a milestone which has been celebrated across the music world during this anniversary year. In Chicago, Bella Voce has taken the lead in offering Pärt performances: his “Stabat Mater” last spring and this fall, his “Berliner Messe,” a 1990 work for vocalists and organ which Pärt later revised for string orchestra and chorus.
Bella Voce is no stranger to the music of Pärt, having been chosen by Pärt’s celebrated interpreter and subsequent biographer Paul Hillier to be the choir heard in the North American professional premiere of Pärt’s “St. John Passion”—better known by its short Latin title, “Passio”—back in 1990 when the group was still known as His Majestie’s Clerkes. Read the rest of this entry »
Chicago is blessed with the return of global sensations Ibeyi (pronounced ee-bey-ee), for a second performance in one year. French-Cuban twins Lisa-Kaindé Diaz and Naomi Diaz, who sing in both Yoruba and English, are the daughters of late Cuban percussionist Miguel “Angá” Diaz of Irakere and Buena Vista Social Club fame. Angá died in 2006 when the twins were only eleven; tragedy stuck again in 2013 when they lost a sister, Yanira. They grew up mostly in Paris and credit their French-Venezuelan mother, a singer, with inspiring their love of West African Yoruba culture (brought to Cuba by slaves in the 1700s). Naomi plays percussion, mixing hip-hop and Afro-Cuban beats on the cajón and Batás, and handles production while Lisa, the primary vocalist, plays piano and concentrates on composition. Read the rest of this entry »
After the devastating 7.8 magnitude earthquake that brought Nepal to its knees this April, the world witnessed an outpouring of humanity’s generosity; and now Chicago will see even more of it, up close. Albatross, one of the top alt-rock bands from hard-hit Kathmandu (they won both Best Performance by a Group or a Duo with Vocals and Best Rock Vocal Performance at the Hits FM Awards in Nepal last year), is now on a tour of ten U.S. cities to raise funds for earthquake relief programs. Read the rest of this entry »
By Gail Dee
The seventeenth World Music Festival Chicago continues through September 22. The city’s free annual cultural blood transfusion, which began on September 11, presents fifty artists from twenty-six countries with over sixty performances taking place at fifteen venues.
The “O.M.G. did you see?” of the entire festival is certain to be the long-awaited Chicago debut of the intense Inuk throat-singer Tanya Tagaq (September 19 at Museum of Contemporary Art, 220 East Chicago) performing a searing live soundtrack to the 1922 silent film “Nanook of the North.” It’s her sole performance in the festival. Like Dakha Brakha in 2013, this is an artist you won’t soon forget. Don’t come expecting a lyrical, meditative musical experience; her intention is to express herself without restraint, and she can be sonically shocking. Most of her shows are improvised, though this performance does have a score (written by a composer Derek Charke). Read the rest of this entry »
By Gail Dee
The seventeenth annual World Music Festival Chicago hits town September 11-22, bringing musical adventures from across the globe. It’s the largest festival of its kind in the U.S., yet appallingly many Chicagoans have never heard of it; you can help spread the word. Completely free to the public since 2012, this cultural feast is absolutely no risk—enjoy just a nibble or consume the whole bounty. This year there are more than fifty different artists from twenty-six countries represented in sixty performances.
Unlike other festivals produced by the Chicago Department of Cultural Affairs, WMF is spread out among eighteen different venues, including Martyrs’, Mayne Stage, City Winery, Chicago Cultural Center, Old Town School of Folk Music, The Promontory, Museum of Contemporary Art and Jay Pritzker Pavilion. You can pick up a printed schedule or check it out online. This year the city is also experimenting with a new phone app called Eventfest, to help you navigate the various performances. Some venues—like Mayne Stage and Old Town School—allow you to reserve tickets; I highly recommend this for the only performance by Manitoba artist Tanya Tagaq, which complements a screening of the 1922 silent film “Nanook of the North” on September 19 at the Museum of Contemporary Art (220 East Chicago); it will definitely sell out. 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 »