Hearing the Wailin’ Jennys stripped of artifice, unadorned by elements dropped in to make the trio sound more like a country rock band than anything else, is probably the best way to encounter these folk-singin’ Canadians. Spawned from a one-off gig at some music shop, the trio started touring and recording soon after. With its 2004 debut, “40 Nights,” ranking as the group’s most acoustic-focused affair, closing standard “The Parting Glass” best serves to explain the band’s talents. Initially a Scotch farewell song, something from about the same time Robert Burns was kicking around, the tune finds the original trio—Cara Luft’s since split-workin’ it out a capella. Read the rest of this entry »
By Mark Roelof Eleveld
Irish singer-songwriter and rocker Paul Brady has been doing it well for almost half a century. “Chicago is a very educated crowd, they know their music,” says Brady about his November 1 show at Chicago’s Old Town School of Folk Music with local stalwart John Condron opening. Brady says that the blues played a large part of his set when he was younger. “I have about eighty percent of my solo set down when I get there, and depending on the audience, perhaps some of the Irish tunes, or maybe some old blues; there is always this ‘bleeding noise’ from my past songs saying, ‘hey, what about us?’”
Brady’s catalog is substantial. With more than fourteen albums, including his most recent double-CD compilation “Dancer In The Fire–A Paul Brady Anthology,” Brady’s style is hard to pigeonhole. From Northern Ireland, he is one of the island’s most enduring contemporary musicians. Fellow Irishman Bono of U2 offered that Brady is, “The iron fist in the velvet glove of Irish music,” and no less than Bob Dylan revealed, “Some guys got it down, Leonard Cohen, Paul Brady, Lou Reed, secret heroes.” Read the rest of this entry »
Music is alive and well and living in Chicago.
While that once might have meant records and radio and bands being signed to major labels, it’s a much more complex score these days, with artists and venues more entrepreneurial than ever. But at the core is the shift in emphasis from recorded to live music, and it’s a change that’s made Chicago a town of festivals, from the city’s bedrock blues, jazz, gospel and world music festivals, to Lollapalooza and Pitchfork, to the new electronic dance music festivals—Spring Awakening, Wavefront and North Coast—as well as the explosive growth of an old one, the Chosen Few DJs Picnic. With these shifts, the players are changing too; since we last made this list of the behind-the-scenesters, the power list if you will, most of the list has changed. This year’s forty-five include twenty-six folks who were not on the list that last time in 2009. (Brian Hieggelke)
Music 45 was written by Brian Hieggelke, Dennis Polkow and Kenneth Preski, with additional contributions by Dave Cantor, Keidra Chaney, Dylan Peterson, John Wilmes and B. David Zarley. See previous years here. Read the rest of this entry »
Though best known for her work as a flamenco singer, Palma de Mallorca-born Concha Buika has broadened the genre through her very personal interpretation and also by taking the music in unusual directions. In 2011, she collaborated with Anoushka Shankar on the sitarist’s genre-bending “Traveller” (Deutsche Grammophon), an album that mixed influences both from Indian and Flamenco into one package.
On her new release, “La Noche Mas Larga” (Warner Latina), Buika offers a collection of self-penned songs and a handful of covers—including a great update of Abbey Lincoln’s “Throw It Away” that features a rollicking electric bass line by Alain Pérez that serves as a backdrop for the percussion and piano. Read the rest of this entry »
The descendants of Haitian immigrants that settled in Cuba until the late fifties, The Creole Choir of Cuba is a ten-piece ensemble of voices and percussion who sing the music of their ancestors in a highly personal manner. Singing in Creole (Haiti’s second language), their lyrics speak about their history and heritage. Some songs were written centuries ago, while others, like “Tande,” were composed to talk about the cruel years of the Duvalier regime. Read the rest of this entry »
Pairing Del McCoury and Sam Bush is at once a perfect match and somewhat antithetical. The older guitarist who made a name for himself in bluegrass before Bush had even touched an instrument is completely rooted in the music’s historical resonance—Americans struggling through the depression and then working through the building of this country’s middle class. Bush, on the other hand, is included in the crop of players influenced by that early wave of performers but also sixties counterculture. Musically, the duo share an affinity for the traditional, although Bush and his mandolin have been seen cutting up stages posed as a rock star. McCoury, a guy who’s been around long enough to tour and record with a band comprised of his children, still hedges toward traditional lyrical topics, issuing a 2006 album made up of devotional tunes. Read the rest of this entry »
Joe Pug may not call Chicago home anymore, but it’s still a homecoming whenever the husky-voiced folk singer with the old soul rolls into town.
“Every time we go back on the road, about twenty percent more people come,” Pug says by phone from Austin, where he now lives. “People come five times in two years, and people there at the first show are still at the fifth show. At the end of the day, it’s a little family of people who come out to shows.” Read the rest of this entry »
For the overwhelming majority of his career, Chicago-native Tom Paxton has worked in the periphery of folk music. He’s toted his guitar around since the early 1960s, brushing up against genre luminaries like Pete Seeger, and has had his work covered by even better known pop stars. During these six decades, Paxton’s mostly been operating under the auspices of independent labels, maintaining a following while seeming supremely reserved when compared to his contemporaries, who embraced an electric sound to relate their message. Political songs, though, sound just as urgent in Paxton’s acoustic strains, even when set against his story songs and a spate of lighter music. Read the rest of this entry »
Hearing the Monkees’ Micky Dolenz belt out “Take a Giant Step” really is a good enough reason to raise that boy band beyond the scope of its brethren. The actor’s take on what’s become a recognizable part of American culture has been put to wax innumerable times since the late sixties and may even out-stripe the versions bluesman Taj Mahal has worked up. Before issuing the track on his 1969 “Giant Step” album, Taj Mahal and Ry Cooder ruffed the song up for inclusion in the Rising Sons’ songbook, which was largely comprised of well-known covers. The more aggressive, earlier version might not rank alongside classics from the middle of the decade, but it serves to announce a performer with a voice as powerful and emotive as his guitar playing. Read the rest of this entry »
The latest release from Brooklyn-based Chicha Libre is a feast to the eyes even before it reaches your ears. The words “Canibalismo” shout out in bright yellow, white and red letters with a background of rainforest vegetation–a clear reference to the late 1960s tropicalismo movement that started in Brazil as a response to the psychedelics of America and Europe during that time.
Asked about the cover, French-born Olivier Conan (who also co-owns Barbès, an alternative performance space in Brooklyn, NY) says that the reference was intentional. “We meant to reference Tropicalia,” he says over an e-mail interview. “The album is named ‘Canibalismo’ after Oswald de Andrade’s autophagous manifesto, which was Tropicalias’ manifesto—and while the graphic style wasn’t derivative, it does evoke that era.” Read the rest of this entry »