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 »
Photo: Joe Mazza/BraveLux
By Robert Rodi
Joe Shanahan’s influence on the Chicago music scene is both vast and of long standing. He launched his rock venue Metro in Wrigleyville in 1982, with dance club Smart Bar beneath the main venue. Over the decades he’s seen many bands come through his doors as hungry young talents, then go on to become successful touring acts—bands like Naked Raygun, Butthole Surfers, Hüsker Dü, Soul Asylum, R.E.M., Smashing Pumpkins, Urge Overkill, Jane’s Addiction, Oasis, The White Stripes, Chance the Rapper, Fatboy Slim and Fall Out Boy—to name only a very, very few. Metro’s stage has also hosted its share of legends, from Bob Dylan and Iggy Pop to James Brown and Prince. Now fifty-eight, Shanahan is in a position to look back on a career that very nearly defines the history of Chicago rock ‘n’ roll; but instead he finds himself, due to some recent realignments in his life, looking decidedly forward.
I met with him midday in the empty Smart Bar, where he took a seat at a stool at the end of the bar and sat with his back against the wall.
Looks like a good vantage point for you.
Over the years I may have sat at this stool at the bar thousands of hours. I can hear the dance floor, I can talk to my bar staff—and people know I hang out here; if I’m in the club, they know this is where to find me. Unless I’m in the booth.
Are you at the club every night?
Often, but not every night. If there’s a DJ or an act I’m tight with, or if there’s a special event. 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 »
Gayle and Alan Heatherington
By Dennis Polkow
More often than not, performing arts organizations tend to cease operations for insufficient funding, declining audiences or both. How then to explain last month’s stunning announcement that after twenty years, with its extraordinary aesthetic vision fully intact, its operations solvent and its audiences supportive and enthusiastic, the 2014-15 season would be the final one ever for the Ars Viva Orchestra?
Coming onstage with his wife, Ars Viva executive director Gayle Heatherington, at his side, the organization’s founder and music director Alan Heatherington postponed his customary illuminating introductory remarks about the music about to be performed.
“All good things come to an end,” he said instead, “all great things come to an end. How many of you have had a favorite restaurant that closed?” By now, audience members had become uneasy with suspense, so Heatherington immediately broke the tension by getting right to the point: “So we are here together to announce that the May concert will be the final concert of Ars Viva,” he declared to audience gasps. 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 »
By Corey Hall
Silently, the musicians in the Chicago-born Association for the Advancement of Creative Musicians (AACM) stand and face east before a single note is expressed. This, according to Muhal Richard Abrams, the Association’s co-founder, is because all life originates in the east. If any evil energies exist in a performance space, the musicians must wear war paint and masks for protection. This tradition has characterized AACM presentations since 1965.
The organization celebrates its golden anniversary this month, beginning on April 22 with a performance by the Hanah Jon Taylor Artet at The Promontory and culminating in a collaborative finale, “Together: A Power Stronger Than Itself,” at Mandel Hall on April 26, in which fifty AACM members perform as one. In between are recitals and concerts at various venues around town, by artists such as Saalik’s Epoch Zed, cellist Tomeka Reid and The Colson Group.
Drummer Dushun Mosley and violist Renée Baker—two AACM members who are participating in multiple performances during the celebration—recently spoke about why this cooperative association still matters. Read the rest of this entry »
Pacifica Quartet: Masumi Per Rostad, Sibbi Bernhardsson, Simin Ganatra, Brandon Vamos
By Dennis Polkow
The diversity of music that was composed during the First World War will be spotlighted during a special Pacifica Quartet-conceived University of Chicago Presents festival called “Centenary Weekend: The Crossroads of World War I and Music,” which will include six concerts across a single weekend.
“We did a recording eight years ago called ‘Declarations’ which was music written between the wars,” explains Pacifica violinist Sibbi Bernhardsson. “One of the things we have been talking about a lot was that the early part of the twentieth century was perhaps the most varied time when it came to different types of great music being written, different styles and idioms when there was so much going on. Entering into the centennial of World War I, we thought it would be interesting to make a festival where we highlighted exactly that.” Read the rest of this entry »
In recent years, Brazilian-born Eliane Elias has been exploring the music of her native country (as opposed to the contemporary-oriented albums of her early career). For her latest album, she even got out of the comfort zone of recording Stateside in favor of a studio in São Paulo—something she had not done since she emigrated. “I had this desire to record in Brazil,” she says prior to an appearance at New York’s Birdland jazz club. “However, I was already used to working with my team here, and that included having Oscar Castro-Neves coming from Los Angeles. But since Oscar passed, I thought that it was time to do something in Brazil within our climate, our language.” Read the rest of this entry »