09th Apr2013

WAR & Tower of Power Bring the Brass to the Arcada

by rockchicago

 

It is a good thing I have insurance because this past Saturday I spent three hours at the clinic. The clinic was at the beautiful, historic Arcada Theater in St Charles and the clinic was put on by two of the best veteran bands you can ever hear: WAR and Tower of Power. Hands down two of the best live bands you will ever hear. Even though either band has enough hits in their combined ninety year history to headline they must have flipped a coin and WAR opened the clinic….and most impressively …ON TIME.  WAR wasted no time either getting the crowd moving to their timeless funk hits and the funk did hit. Lonnie and boys entertained and joked with the crowd as if we were all a part of the same 4th of July barbeque family reunion. They also went into a 70s LP jam session that took us on a journey through not only funk but also reggae, jazz, and even a little Tejano and who would have thunk even a bit of Minnie Ripperton’s Loving You. Percussion partners Sal Rodriguez on drums and Marcos Reyes on congas and timbales are living metronomes that beat their drums like they owed these guys money. With Poncho on bass and Stuart on guitar WAR’s rhythm section made their statement early. “We mean business”. WAR’s brass section of Stanley Behren on harmonica and David Urquidi on sax cement that very unique WAR sound that only they can produce.  Oh how can I forget the reason WAR exists and thrived for over forty years, the grand poobah himself, Lonnie Jordan. Lonnie IS the one to watch as he works his musical magic and keeps the show moving at an “I can’t stop dancing pace”.  This master of funk could not hide the fact that he also has a beautiful voice that rivals many of those  American Idol contestants would love to copy. Halfway through the clinic and my heart rate would not slow.

The theme of the night continued with Tower of Power. One of the first songs they played was “You ought to be having fun” and they were….and so were we. One of the greatest things about TOP is that every player is equally talented. A pulmonary specialist would be in awe to see their five piece horn section breathe in unity as they hit every deliberate, precise note sprinkled with some hot “where did that come from soloing” as well as Doc’s better than Fred Astaire’s dance moves (remember Fred Astaire is dead). As with WAR, TOP’s rhythm cannot be stopped.  Percussion award winning drummer David Garibaldi, Rocco “16th note” Prestia, Larry Braggs, and new comer Jerry Cortez were having a party within a party producing their seemingly effortless groove. Even though the boys were dressed for a neighborhood poker game Larry Braggs came out in a suit that would make you beg for an autograph without knowing anything about him. He controlled the crowd with his charm and oh yeah I forgot, this former Chicagoan can sing…I mean sang like no other can. As they played their hits they also morphed their way into a James Brown medley that would make JB and his Famous Flames proud. All this was topped with Larry’s “check James Brown’s DNA” to see if this guy is related” dance moves.

Anyone who has followed these bands over the years can expect the same thing year after year….perfection!!! These bands are tighter than my pants after an extended trip to the $8 pizza buffet at Pizza Hut.  I can honestly say that after my first visit to Arcada I was happier than a kid in a candy store and what do you know? The Arcada has a candy store right smack in the middle of the lobby.  Of course with my wife on my arm she made sure I didn’t quite make it in there. It was all good though because beer, wine, and mixed drinks are served. I will get my milk duds another day.

After the night was over my diagnosis was in. I am an incurable funkaholic and got a good dose.

Reviewed by Paul “Mr. U” Uhrina on 3/23/13

WVLP Valparaiso, Ind.

Category : Funk
0 Comm
11th Dec2012

Chick Corea & Gary Burton Bring the “Hot House” Tour to the North Shore

by rockchicago

 

For my first time at the North Shore Center for the Performing Arts in Skokie, it was really beautiful inside, and may I say, what a theatre! Tonight, 2 of the biggest legends in Jazz were playing the closing date of their tour here in Skokie; the incredible Chick Corea and Gary Burton with the Harlem String Quartet.

They started out the night with Chick’s “Love Castle” and some classic material from their past repertoire with just the two of them on stage. I do have to say that I’ve never seen Gary Burton live. My guests who were my dad and the incredibly talented Howard Levy from Bela Fleck & the Flecktones have both seen him live in the past. I was told that he is the only vibraphone player to use a double mallet when performing.

After the short set of past material, they went into performing songs from their latest album Hot House which the tour is in support of. Hot House is an album of covers picked out by Chick and Gary. Some highlights from the album that they played included Art Tatum’s “Can’t We Be Friends,” Tadd Dameron’s “Hot House,” Thelonius Monk’s “Light Blue” and my personal favorite, The Beatles’ “Eleanor Rigby.”

They ended the first set with “Strange Meadowlark,” a tribute to Dave Brubeck who recently passed away. Chick said that when he sent Brubeck the finished product of his song and sent it to him, he was very pleased.

For the second half of the show, the boys brought out the Harlem String Quartet, who sat in with them. The set consisted of a brand new composition that Chick decided to close the Hot House album with called “Mozart Goes Dancing.” It was probably one of the best songs of the night. There was also a point in the set where Chick arranged a piece just for the HSQ and it sounded superb. They closed out the show with a number from Chick called “La Fiesta,” which was cover from Return to Forever.

With the blend of Chick, Gary and the string quartet, you would not be disappointed. Gary Burton has to be one of the most amazing musicians you can witness onstage with his control, his playing and his technique. Same goes for Chick who is a mastermind with Jazz compositions. After all, Return to Forever was very successful throughout the years too. As a matter of fact, Return to Forever IV toured last year and released a new album entitled The Mothership Returns. If you have not heard this album, listen to it.

Overall, it was fantastic concert. Getting to see these two legends together was truly an honor; especially meeting them after the show with Howard Levy. Since Howard played with Chick on the last tour with Bela Fleck & The Flecktones. The North Shore Center for the Performing Arts is definitely a great theatre to see concerts at!

Reviewed by Kevin Pollack on 12/6/12

Category : Jazz
0 Comm
10th Oct2012

Michael Feinstein Takes Us Through the Years

by rockchicago

 

Michael Feinstein presented a fantastic concert with the Jeff Lindbergh Orchestra on Saturday, September 29, 2012 at the beautiful Auditorium Theatre of Roosevelt University. He was in fine voice and as charming as ever. He acknowledged his audience’s presence and never took them for granted. He would often share a little story or tell a silly joke, all the while engaging his audience. Musical Director and conductor Sam Kriger is to be applauded for some really fantastic melodies often melded together to create stunning renditions of popular songs arranged such that, at times,  three songs can sound like one glorious tune. The show started with a medley incorporating two well known Broadway tunes: “Luck Be A Lady” and “All I Need Is the Girl.” These songs really showed off Feinstein’s ability to sell a song and featured some strong brass from the orchestra.

He then sang a popular 1939 standard “I Thought About You” by Mercer and Van Heusen featuring a smokey saxophone solo by Eric Schneider. He made reference to the big band era and how that music was some of the finest. I am inclined to agree. Strong brass complimented Mr. Feinstein’s vocal chops in “Pick Up The Pieces,” which Feinstein ended in a sailing high note. He shared the observation that musicians write songs to make us fall in love. The irony of course is that most of the big band musicians ended up in divorce.

The next medley combined the songs “I Can Dream, Can’t I” and “I’ll Be Seeing You”. Once again, two songs melded together beautifully. This time he played one song on piano, while singing the other. Amazing showmanship and arranging. Michael is a brilliant singer and pianist. The orchestra got the spotlight playing a popular Brazilian song which made me think of high trapeze circus music. I am certain I’ve heard it as a child. Feinstein mentioned a Liberace piano contest that didn’t require sequins which certainly amused the audience. As a tribute to British artists Michael sang the Ray Noble tune “The Very Thought of You” with a stunning guitar solo by Pat Ferreri and trumpet by Danny Barber. He sang a show stopping rendition of Leslie Bircusse’ “What Kind of Fool Am I” connected to every lyric in honest emotion. He started the song in his low smokey baritone, changed keys and ended the song with a high note that I am sure could have been heard for miles. Truly amazing.

He ended the 50 minute first act with a salute to the big band era featuring a medley of “Let Yourself Go” and “Sing, Sing” After a 25 minute intermission, ten minutes too long, he got his audience right back in the palm of his hand by delivering the Oscar Winning song “Once In A Lifetime” by Kern and Fields. Follwing this he sang “The Way You Look Tonight” ending in another pure high note. He had a couple humorous moments in Act 2. First he acknowledged the prevalent Jewish community in the arts and observed how all of the Broadway successes are written in minor keys or “Jewish keys” as he joked. He also had an overzealous heckler or perhaps tipsy fan in the audience who he acknowledged that he needed his support to get through the show. Following this humorous interjection he sang “So In Love” from Cole Porter’s smash hit “Kiss Me Kate” with another fully orchestrated piano solo performed by Michael. I think he played every single note on that instrument. A wonderful moment to be sure.

He then saluted the classic Oscar winning films of the 1930′s and 1940′s with a lyrical blending of “When I Fall In Love” and “My Foolish Heart”. He told a wonderful story of the great Jerry Herman and Louis Armstrong at a family gathering at Herman’s home and did a fantastic vocal recreation of Louie using seldom heard lyrics to “Hello Dolly” that included the words, “You’re a gin and tonic when I’m feeling blue.” The salute was bridged with a full Dixieland sound from the orchestra and it finished with Feinstein using his own voice. He then actually took requests from the audience on what songs they’d like to hear on piano by the great Gershwins. He used this as an opportunity to make a quick humble plug for his Gershwin CD coming out later this October. He spun musical melodies from “Embraceable You”, “Someone Who’ll Watch Over Me”, “The Man I Love” and “Our Love Is Here To Stay” on the piano.

Once again the vocal prowess of Mr. Feinstein was combined with the big brass sound of the orchestra on “The Beguine”. Mr. Feinsteins use of his pure falsetto tone was like silk. He ended the hour second act with “For Once In My Life” at which time the audience thought his concert had ended. Several audiences members left to beat the traffic, but the majority stayed only to be treated to not one but two full encores. ” The Lady Is A Tramp” and “New York, New York”, the latter which he proceeded to do a kick line on top of the piano and ended with another purely trained note at the top of his vocal range. The entire audience rose to their feet in a spontaneous show of affection and respect for this amazing talent. This American Songbook was a brilliantly orchestrated musical 2 hours of solid entertainment. Mr.Feinstein is a handsome, engaging talent with brilliant vocals and honest emotion. The sold out crowd had a wonderful treat.

Reviewed by John B. Boss on 9/29/12

Category : Jazz
0 Comm
29th Aug2012

Fagen Keeps The Dukes of September Rhythm Revue Alive at Ravinia

by rockchicago

 

On a beautiful Wednesday evening, folks were rushing to get their seats to “The Dukes of September Rhythm Revue,” a show that Donald Fagen of Steely Dan started up back in 2010 with Michael McDonald and Boz Scaggs. The project is a resurrection of the previous New York Rock and Soul Revue which featured the same three musicians and played a combination of hits from the members respective careers as well as a wide variety of covers.

Donald Fagen and Michael McDonald began working together in the mid-1970s when McDonald would collaborate with Steely Dan, singing and playing keyboards on a lot of their material. The two worked together again during the early 1990s in the short lived New York Rock and Soul Revue which also included Boz Scaggs, Phoebe Snow, Eddie Brigati, David Brigati, Charles Brown, Walter Becker (of Steely Dan), Cornelius Bumpus and Mindy Jostyn.

With the bill strong as ever tonight, I was just waiting to see how they would each bring their own game. The big disappointment of the night is the disaster that has become Michael McDonald. When he was in The Doobie Brothers in the 70’s, his voice was up to par, but as years grew on, he obviously cannot hit the high notes that he used to. Every time McDonald had a high note to sing during the show, he would “cheat” the mic, by singing to the side of the microphone. That was very disappointing, since he “used to” be one of my favorites. McDonald sang through most of his old Doobie songs including “I Keep Forgettin’ (Every Time You’re Near),” “What A Fool Believes” and “Takin’ It to the Streets.”

Donald Fagen was the highlight of the show. As I am not the biggest fan of Boz Scaggs, I’ve always loved the music of Steely Dan. Fagen took charge of the whole show, and when it came time to perform some Steely Dan songs, he was all over it. With songs like “Pretzel Logic,” “Kid Charlamagne,” “Hey Nineteen,” “Peg” and “Reelin’ in the Years,” Fagen proves he still has the chops to sing his own music. With facial and body antics like Joe Cocker, Fagen kept his Rhythm Revue alive with not just Steely Dan songs but other R&B artists’ songs too like “Who’s That Lady” by Isley Brothers, “Summer in the City” by The Lovin’ Spoonful,” “Thank You (Fallettinme Be Mice Elf Agin)” by Sly & The Family Stone and “People Get Up” by James Brown.

Boz Scaggs was another highlight of the night. As I said before about how I am not a personal fan, the crowd sure did love him. Playing his hit songs like “Lowdown” and “Lido Shuffle,” everyone was so happy to hear those songs played to perfection. Scaggs also showed off on other songs too like “The Same Thing” by Willie Dixon, “Never Can Tell” by Chuck Berry and “Love TKO” by Teddy Pendergrass.

The Rhythm Revue wouldn’t have been complete without the excellent backup vocals of Catherine Russell and Carolyn Leonhart. Those two together knocked all three of the featured singers out of the park. Russell blew everyone away with an outstanding version of “Piece of My Heart” originally by Aretha Franklin’s sister Erma Franklin, later covered by Janis Joplin. She later dueted with Scaggs on a great rendition of Boz’s songs “Miss Sun.”

Overall, this was a great show with great classics by great and legendary artists. Russell, Scaggs and Fagen brought the house down tonight. I only wish McDonald can focus on getting his notes right the next time around. It would be interesting if Fagen got more people involved. Special props for the night go to guitarist Jon Herington who was freakin’ outstanding throughout the night!

 

Dukes of September Rhythm Revue Setlist:

People Get Up and Drive Your Funky Soul / James Brown – vocal: Leonhart & Russell
That Lady / Isley Brothers – vocal: Fagen, McDonald, Scaggs
Sweet Soul Music / Arthur Conley – vocal: Fagen, McDonald, Scaggs
I Keep Forgettin’ (Every Time You’re Near) / Doobie Brothers – vocal: McDonald
Trouble Man / Marvin Gaye – vocal: Fagen
Kid Charlamagne / Steely Dan) – vocal: Fagen
The Same Thing / Willie Dixon – vocal: Scaggs
Miss Sun / Scaggs – vocal: Scaggs and Catherine Russell
Heard It Through The Grapevine / Gladys Knight – vocal: Carolyn Leonhart
Never Can Tell / Chuck Berry – vocal: Scaggs
Summer In The City / Lovin’ Spoonful – vocal: Fagen
If You Don’t Know Me By Now / Melvin & the Bluenotes – vocal: McDonald
What A Fool Believes / Doobie Brothers – vocal: McDonald
Hey Nineteen / Steely Dan – vocal: Fagen
Love TKO / Teddy Pendergrass – vocal: Scaggs
Piece Of My Heart / Erma Franklin – vocal: Catherine Russell
Peg / Steely Dan – vocal: Fagen
Lowdown / Scaggs – vocal: Scaggs
Takin’ It To The Streets / Doobie Brothers – vocal: McDonald and Catherine Russell
Reelin’ In The Years / Steely Dan – vocal: Fagen

Encore:

Lido Shuffle / Boz Scaggs – vocal: Scaggs
Pretzel Logic / Steely Dan – vocal: Fagen, McDonald, Scaggs
Thank You (Fallettinme Be Mice Elf Agin) / Sly & the Family Stone – vocal: Leonhart & Russell
Them Changes / Buddy Miles – vocal: McDonald
People Get Up and Drive Your Funky Soul (reprise) / James Brown – vocal: Leonhart & Russell

 

Reviewed by Kevin Pollack on 8/22/12

Rating: 3/5

Category : Jazz, Pop
0 Comm
18th Jul2012

Big Sam’s Funky Nation Storms Up Mayne Stage

by rockchicago

If you want to be knocked out by a wall of sound, Big Sam’s Funky Nation is the band to see. This high impact band is an explosion of sound that just keeps on going.
The group is headed up by Big Sam Williams on Trombone who has played with the Dirty Dozen Brass Band out of New Orleans. The group also features a typical New  Orleans type of line up with a Trumpet player, Drums and electric guitar and bass.
Out of the gate one can tell that this band has a lot of fun and they really know how to pump up the crowd. There is always plenty of audience participation and they know how to get the crowd going.
Although the band is from New Orleans, don’t expect to hear your father’s Traditional Jazz here.   This band does a great job of updating the New Orleans sound while still staying true to the roots. While their style might be best described as hard hitting funk, they definitely preserve the New Orleans Jazz flavor in their work somehow.
There is a fusion of a number of different styles and influences that make their overall sound fresh and interesting.  One can hear James Brown, Curtis Mayfield, Rick James and even a touch of Rap in what they do.
Sam Williams dominates the scene with his mighty powerful trombone playing.  He has a big sound and it is forceful but well centered. His intonation is spot on and he is very agile on an instrument that makes it difficult to play quick successions of notes. He is an accomplished showman and regularly shouts out to the audience to get things going with the crowd.  They even have tunes that involve the crowd dancing.   In one tune they invited audience members up to dance solos in front of the crowd.   Those familiar with Big Sam’s work will remember these “Shake That Funky Donkey”events from past performances.   They certainly drew attention at this year’s Jazz Fest in New Orleans.
The rest of the band is also comprised of very accomplished players.  Andrew Baham on trumpet is also a very strong player that plays precisely, definitively and with incredible force.  His solos were high impact and melodically interesting.  The bass player was rock solid and played with excellent time.   The drummer was also very impressive and always played with rock solid time and high energy.
High energy is the best way to describe this band.   They understand the dynamics of jamming and building up energy. It was not long before everyone in Mayne Stage was dancing or at least moving to the music.   They also played continuously as a DJ would, transitioning from song to song smoothly. As soon as they had the crowd grooving on one thing they would morph it into another great groove. They just built this up more and more over their set until they had the whole house rocking.
This band is definitely worth seeing.   They have a great sound that is interesting and entertaining and they are fun to watch. Just make sure you bring comfortable shoes because it is highly likely that you will spend most of the show on your feet!
Reviewed by Michael Hesiak on 7/13/12
Category : Jazz
0 Comm
29th Jun2012

Soul Rebels Funk it Up at SPACE

by rockchicago

Photo by Neil Rigler

 

The Soul Rebels arrived in Evanston Thursday night fresh on the heels of appearances at Jazz festivals in Ottawa and Toronto, at the end of a month that took them from Bonnaroo to Metallica’s Orion Festival in Atlantic City.  The mere thought of seeing these ambassadors of a proud New Orleans brass band tradition in the intimate confines of Evanston’s outstanding Space had me excited for a rare opportunity.  To say I walked away fully satisfied only begins to tell the story of the joy of music these eight talented musicians represent.

With a 5-piece brass section, one saxophone, and two percussionists, the band worked their way through an impressive range of sounds, and a groove that barely paused over the course of a 90-minute set.  Their opening instrumental set the tone for the dance party that was to follow with up-tempo beats and alternating solos from each of the men on the front line as a way of introducing themselves.  Two trumpets, two trombones and Erion WIlliams’s great saxophone work played melodies and harmonies over the stellar bass grooves Edward Lee, Jr. pounded out on the sousaphone all night.   Many times I found myself looking around for a secret bass guitar helping with the funk, but this was not a night for electronic instruments.  This was all about the physicality and power of brass, sax, and percussion.

Their chant of “ain’t nothin’ but a party y’all” at the start of their second song brought to mind the work of the recently deceased Chuck Brown or Trouble Funk, both masters of the DC go-go scene years ago.  It got the middle of the room dancing – the people seated at tables on the sides would have their turn in an hour or so.  But the Soul Rebels wouldn’t be content with referencing just one type of music or song.  Quite the opposite.  By the end of the night I felt like they took my whole record collection and reworked it, reshuffled it, and made it their own.  So when Julian Gossin and Marcus Hubbard quoted Suzanne Vega’s “Tom’s Diner” on their trumpets, it just fit right in with the flow.  Songs by turn included Afro-Cuban rhythms, Latin beats, Calypso, Reggae, and, dare I say, all that jazz.

The set included many songs from their widely-praised cd from earlier this year, “Unlock Your Mind” (Rounder).  “Turn It Up,” “My Time,” and “Showtime” were standouts along the way.  As the infectious groove kept rolling along, largely due to the tight and relentless beats from Derrick Moss and Lumar Leblanc, the band wanted the people seated at tables on the sides to join in the party.  They found a perfect solution in a dynamite cover of Stevie Wonder’s “I Wish” which segued into Parliament’s “Give Up the Funk,” but only long enough to be the perfect tease.  “In New Orleans we don’t have chairs,” Williams told the crowd, “so get on up,” while the band provided the perfect James Brown quote to go along with the sentiment.

Paul Robertson and Corey Payton’s work on trombone was a thrill to watch all night and  earned a new level of appreciation of its range from me.  Corey and Julian took center stage as the mood turned to hip-hop as the set turned to a close.  It was a daring reach for a group with such deep traditional roots.  I asked him about it afterward and he said their goal is to “touch on every aspect of music” with “no limitations” so they can “reach everyone we can.”  Powerful thoughts – ones they’ve proven by their appearance at Metallica’s 30th anniversary last year.  When asked about how that crowd received them, Corey glowed: “They took to it! It was all about acceptance.”

The set came to a close with an ode to the area code of New Orleans, “5-0-4,” followed by their biggest hit, a cover of the Eurythmics’ “Sweet Dreams Are Made of This.”  By then, the whole room was dancing.  When the band finished their set, people stuck around for pictures and hugs with the band – nobody wanted the love to end.

A quotation from a reviewed posted on the Soul Rebels website speaks of them as “the missing link between Public Enemy and Louis Armstrong” – their music and stunning performance tonight proved that true.  Be sure to catch them when they return to Martyrs’ in late August – they’ll be busy touring Europe and elsewhere in the meantime, converting music lovers into members of their beloved 5-0-4.

Reviewed by Neil Rigler on 6/28/12

Category : Jazz
0 Comm
26th Jun2012

Acoustic Alchemy Brings Fresh Sounds to Mayne Stage

by rockchicago

Acoustic Alchemy is every bit as vibrant as they ever were.  They have been at this since 1981 but they still sound fresh and interesting.  Acoustic Alchemy has always been known for their signature sound of using nylon stringed guitars and steel stringed acoustic guitars with electric bass, synthesizer and drums. Nothing has changed and they still remain true to their format.
They have a great chemistry on stage and they perform their music with passion and precision. This band has a tight, controlled, carefully constructed sound.  They also have a great sense of dynamics and can make an impact without becoming overbearing with the overall volume. This is something that is unfortunately rare these days and it is refreshing to see a band that takes their overall sound seriously and takes steps to control it.
The sound and balance of this band was carefully crafted.  The synthesizer sounds were interesting and blended well with the rest of the band. The Bass and Drums were present but never overpowering.  With a well manicured background such as this, the nuance and complexity of the acoustic guitars could be heard. Overall the band sounded fantastic and it was very easy on the ears.
They played with high energy and all of their lines were crisp. They played with a great sense of time and were able to groove while still supporting the rest of the band. Much of this seems to have to do with the fact that Greg Grainger (Bass) and Gary Grainger (Drums) have played together as a rhythm section for many years. They are brothers and have played extensively together.  This shows in their playing and it is immediately apparent that they understand each other’s sense of time. They immediately lock into a groove and have a dialog in their playing.   They play off of each others rhythmic ideas and this keeps things constantly changing and fresh.
Greg Carmichael and Miles Gilderdale (guitar) continually impressed the audience whether it was an ultra clean nylon string guitar lead or a blistering electric guitar solo. These two guitarists showcased each instrument in any of their tunes and provided a great variety of different guitar sounds and techniques.   They both have a serious approach to what they do and their playing has a great sense of feel while always being precise. Each of them looks to push the boundaries of the instrument and they consistently come up with surprising solo material.
Some reviewers have criticized this group of having too much of a “Musak-y” type of sound.   This is somewhat understandable when one considers that this band pioneered this format and very soon many artists jumped on board to attempt similar things. Their success created an entire style that lends itself to applications where easy listening would be an advantage from a production standpoint.
However, to dismiss this band as another one of those “Smooth Jazz – Acoustic Guitar” acts would be a grave mistake.   There is much more going on here than what is seen on the surface.   The musicians are accomplished and technically adept and play with great feel and dynamics.   The interplay between them on stage is interesting and engaging and they seem to pull it off with a sense of ease and comfort this is not generally seen these days.
This band is outstanding and should not be missed.   Anyone that appreciates well executed Contemporary Jazz would enjoy this show. Make sure to catch them the next time they are in town.
Reviewed by Michael Hesiak on 6/24/12
Category : Jazz
1 Comm
26th Jun2012

Esperanza Spalding “Sings it Loud” at Ravinia

by rockchicago

 

On one of the most beautiful nights this summer, Ravinia was lighting up with some great Jazz by one of its finest up-and-coming performers Esperanza Spalding. Esperanza is only 27 years old, and is already making a big stir on the Jazz scene, already having won a recent Grammy Award for “Best New Artist.” This concert really showed how she won that award.

The night started out as the amazing big-band she had with her started to play. For a 12-piece band all together, they blended so beautifully. The rich texture of sounds that came out of this group really showed. Key members of the big-band that really blew my mind were saxophonist Tia Fuller, trombonist Jeff Galindo and trumpeter Igmar Thomas. Other key members of the group that really stuck out were pianist Leo Genovese and drummer Lyndon Rochelle.

The backup singers were fantastic too. Singers Chris Turner and Leala Cyr really helped Esperanza out by adding that blended vibe that this music really needed. Esperanza Spalding is one of the most unique Jazz singers/bassists I have ever seen. Not since Ella Fitzgerald have I heard “scatting” that good, and not since Stanley Clark have I seen such bass playing. I can see where she gets her influences from, yet at the same time she really stands her ground with her own sound.

You can tell Esperanza is a people person. She loves interacting with the audience. She loves telling stories. But instead of “telling” stories, she lets the music bring the story out, whether it was played by a saxophone or a trumpet, or scat-sung. Either way, she is a storyteller through music. Back in the 70’s, singer-songwriters started to emerge with singers like Cat Stevens, Laura Nyro, James Taylor and Judy Collins. The songs they write tell a story. Throughout the night Esperanza was telling a story of “love” and finding the right person. Through standout songs like “Smile Like That,” “Let Her” and “Crowned and Kissed,” she explained to the audience how men were kings, and it’s the right smile you find in your significant other that keeps you both happy.

Esperanza seems like a free spirited person; very laid back and cool. But she is also a big supporter of “Free the Slaves.” With songs like “Black Gold” and “Vague Suspicions,” she really emphasized how much she appreciates all kinds of races and human beings, like in “Black Gold,” saying “We’re all gold.” There was a point in that song when Esperanza asked how Chris Turner was doing, and he scat-sung so beautifully that he made the whole crowd at Ravinia go nuts.

Esperanza also did some great covers as well like Michael Jackson’s “I Can’t Help It” off of his Off the Wall album, and put words to Wayne Shorter’s classic “Endangered Species.” I have always been a huge Kurt Elling fan, because of his skill to put words to instrumental Jazz classics and his scatting, and now I think we have found the female version of him.

Esperanza closed out the night with a very catchy song about the radio, and how it is the greatest invention ever made called “Radio Song.” With a chorus like, “Now if you want to Sing it loud, with love, with love in your heart. Because you like to, because you need to. This song’s the one.” Everyone was singing that walking out of the park.

Overall, Esperanza is definitely a true talent and should not be missed when she comes in concert again. If you are a Jazz fan at all, or if you’re not and just want to experience some great talent, then you should really check her out. She currently has 4 albums out right now:

Junjo (2006) http://www.amazon.com/Junjo-Esperanza-Spalding/dp/B000F0H4R2/ref=sr_1_4?s=music&ie=UTF8&qid=1340742263&sr=1-4&keywords=esperanza+spalding

Esperanza (2008) http://www.amazon.com/Esperanza-Spalding/dp/B0014HC56K/ref=pd_sim_m_2

Chamber Music Society (2010) http://www.amazon.com/Chamber-Music-Society-Esperanza-Spalding/dp/B003OFHMKO/ref=pd_sim_m_2

Radio Music Society (2012) http://www.amazon.com/Radio-Music-Society-Esperanza-Spalding/dp/B005VR9C42/ref=mb_oe_a

If you can, pick one of these up, and I’m sure you’ll really enjoy what you hear. I know Ravinia sure did.

Reviewed by Kevin Pollack on 6/25/12

Category : Jazz
0 Comm
11th Jun2012

Earth, Wind & Fire Fires Up Ravinia!

by rockchicago

 

On a beautiful Saturday night, Ravinia was packed to its fullest for the opening night of Ravinia’s festival with none other than the legendary dynamic group Earth, Wind & Fire. Comprised of 14 members, the band included 3 original members Maurice White, Verdine White and Phillip Bailey.

The sold-out show started off with a bang with “Boogie Wonderland” going into “Sing a Song” and “Shining Star.” It seemed like the band wanted to slap the audience in the face with the songs they know and love first. By doing that, the first 3 songs seemed to bring the audience to their feet. Along with the spectacular lights on the drum kit and the rest of the stage, the set up on stage was very interesting. Oh, and I forgot to mention, the band was playing with the Ravinia Symphony Orchestra. That just added more fire power.

The band showed they still have it with blowing through the rare stuff like “Fantasy,” “Serpentine Fire” and “Evil,” while updating their classics like “After the Love Has Gone” and “Let’s Groove.”

The orchestra really added some lush arrangements to “After the Love Has Gone” and “Reasons.” Those orchestrations made the sound much fuller than it already was. The horns section also was killer, adding the core pieces to the rest of the band. Of the 3 horns, the person that really stood out was Gary Bias on saxophone. He wailed through some great solos through a lot of the numbers.

After talking with bassist Verdine White early on last month, he told me how much he loves the music, and about growing up in Chicago. From the looks on his face and the energy he had up on stage; that really showed, taking bass solos here and there, and jumping around the stage, you knew he was happy to be at Ravinia.

Phillip Bailey has one of the most unbelievable ranges for a man that I’ve seen. He was hitting these crazy high notes in songs like “Reasons” and “After the Love Has Gone.” I think, after mentioning those songs so many times already, you can tell that those 2 were probably the stand-out songs of the night.

The audience was reacting positively to the band and the music by screaming out the lyrics and dancing in their seats to songs like the Beatles’ “Got to Get You into My Life” and the upbeat “September.”

For the encore, the band came back out to perform “In the Stone,” a song that I would think would start the show instead of ending it. When my dad saw the group back in the 70’s, he told me they put on a great show, and even now, they prove despite their older ages, they can still get the crowd going.

The one thing I was disappointed about was the show only lasted 90 minutes. I think if they had more time, the show would’ve been better. But rules are rules, and they did the best with what they were given. I highly recommend seeing Earth, Wind & Fire live when they come back. You’re guaranteed a good time, and Ravinia is the perfect venue for them as well. Everyone else on the lawn was also cheering too.

Ravinia is a great venue for performers and acts, and as they show year by year, they really know how to get the good ones like this one. Catch a show there this season. With acts like Santana, CSN, and The Blues Brothers, you don’t wanna miss this!

Reviewed by Kevin Pollack on 6/9/12

Category : Jazz, Pop
0 Comm
04th Jun2012

Jammon with the Wailers at Durty Nellies

by rockchicago

 

Late in the middle of a four day work week, groups of people converged at Durty Nellies to see The Wailers.  Reggae followers from their early 20’s to late 60’s assembled at the Palatine venue to see the famous revolutionary band.

The original group with Bob Marley in their prime spread the Jamaican sound across the world in the 1970’s and early 80’s before the major split in 1981.  The Wailers have sold over a quarter-million albums across the world, making them legendary across the world.  It is fair to say they are regarded as the greatest Reggae group of all time.

Bob Marley and the Wailers became famous singing songs covering a wide range of topics including love, revolution, freedom, and despair.  One might describe their music as poetic, upbeat soul singing supported with a moderate tempo drum beat.  Popular in beer and travel commercial, this style is relaxing, almost soothing.  Reggae music often provokes warm memories of celebrating with friends for many people.

The show started around 10:15 with a welcoming instrumental piece.  After the 8 minute jam, the vocalists took the stage and the introductions were made.  The crowd greeted the band with an enthusiast response.   It seemed that everyone was on their toes waiting for full group to jam together.

The current Wailers tour features Aston Barrett playing bass, the only original Wailer.  Koolant Brown controlled the majority of the vocals with help from three background singers.  He filled in for the epic Bob Marley and was solid. Koolant could not exactly replicate Bob Marley’s voice, but his intensity and passion could be both seen and heard.

The supporting band members were talented.  They executed their roles with style and purpose.  Many of them flaunted Rastafarian colored apparel with pride and appeared to be happy to perform.  I thought that the chemistry was excellent.

Popular songs from the first set included Soul Rebel, I shot the Sheriff, and Natural Mystic.  I found myself in tune with the flowing beats and wasn’t alone.  Folks at the tables on the second floor as well as the large mob on the main level conveyed the same type of mood.

Far from pounding heavy metal, the reserved Jamaican beats still kept the crowd lively.  Even approaching midnight, the audience remained strong in numbers.  To ensure that the audience received the full Jamaican jam experience, The Wailers played popular songs Exodus and No Woman, No Cry to close the show.  Shoulders, arms, and heads swayed side to side reveling in the comforting sounds.

Throughout the evening, the concert hall had a peaceful and chill atmosphere.  The group’s beats were groovy and the vocals heavy.  There was a spectrum of swinging melodies that generated dancers for all of the songs.

Based on the full experience, everyone would agree that the cover price was well spent.  I felt privileged to see this legendary reggae band – the closest possible to the original group.

Reviewed by Sean Heraty on 5/30/12

Rating: 5/5

Category : Jazz
0 Comm
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