A Chapman Stick is no ordinary guitar: the fretboard is much wider and the neck much longer, allowing for up to twelve separately pitched strings which are then tapped or fretted in combinations that, together with its ability to be manipulated like a synthesizer, allow for an immense variety of timbres and textures. If one Chapman Stick is good, then two are even better, is the view taken by the new group Stick Men.
The latest project by King Crimson rhythm section Tony Levin and Pat Mastelotto, the unique sound of Stick Men is the novel use of two Chapman Sticks—one played by Levin, and the other by Michael Bernier—to create a startling array of sounds that are metallic and raw on the one hand, yet virtuosic and progressive on the other.
Levin has been using the Chapman Stick virtually since it was invented back in the mid-1970s, and has used it to dazzling effect not only in King Crimson, but also on tour with Peter Gabriel. Fellow Chapman Stick virtuoso Michael Bernier is a virtual newcomer by comparison but has the advantage of having grown up with the unlimited possibilities of the instrument.
What do these guys do with these instruments? On their debut album “Soup,” which will form the core of the repertoire of the current tour, Stick Men provide polyphony not possible on standard guitars and provide at times a bewildering and deceiving variety of roles and sounds that are the equivalent of a two-man orchestra. At times, the band sounds like a funhouse heavy metal band, at other times, more like a lost orchestra under water, particularly on the group’s arrangement of Stravinsky’s “Firebird” Suite. In any case, with this repertoire and musicianship, some Crimson classics and extended improvised sections, this will not be your average club gig, that’s for sure. The E-Mics Acoustic open. (Dennis Polkow)
May 15, 9pm, at Martyrs’ 3855 North Lincoln, (773)404-9494. $22.
Author: Dennis Polkow
Dennis Polkow is an award-winning veteran journalist, critic, author, broadcaster and educator. He made his stage debut at age five, was a child art prodigy and began playing keyboards in clubs at the age of fourteen. He holds degrees in music theory, composition, religious studies and philosophy from DePaul University in Chicago. Polkow spent his early years performing and recording in rock and jazz bands while concertizing as a classical pianist, organist and harpsichordist and composing, arranging and producing for other artists. As a scholar, Polkow has published and lectured extensively and taught at several colleges and universities in various departments. As an actor, narrator and consultant, Polkow has been involved with numerous films, plays, broadcasts and documentaries. As a journalist, Polkow helped co-create the experiential Chicago Musicale and Spotlight, the award-winning tabloid arts and entertainment section of the Press Publications chain of newspapers, which he later edited. He also created and ran the nationally recognized journalism program at Oakton College and was faculty advisor to its award-winning student newspaper; many former students went on to major media careers, including Channel Awesome’s the Nostalgia Critic. Polkow’s research, interviews, features, reviews and commentaries have appeared across national and international media and he has corresponded from the Middle East, Asia and Africa for the Chicago Tribune. Contact: firstname.lastname@example.org