In the case of Vertual Vertigo, Ezekiel38 and Cerebral Vortex pull from many different influences, both locally and abroad, and capture a style of hip-hop that blends the nostalgia of the golden era with the progressive sounds of the underground. In the eight-plus years they've been performing they?ve released three EPs and two full lengths all of which have maintained a very entertaining tongue-in-cheek style of play. Centerstage caught up with the two to get a more thorough introduction to the budding artists.

You guys met in Germany. What brought you there?
Ezekiel38: yeah we met in the Nuremberg area in like 2000. I was in the military stationed over there, and Vortex was doing some school stuff. It's really coincidental that we met, and it turned out to be the best friendship and musical collaboration that I've ever experienced!

What's your take on the hip-hop scene there?
E: It's dope! There's a lot of things over there that are somewhat extinct over here. The graffiti scene is nuts! The government seems to be less concerned with buffing and locking cats up for graf, they seem to be more level-headed and committed as fans over there too. I mean every time we go back we see our fans growing with us. Not that that doesn't happen in the states or Canada too, but it just feels like we belong there a bit more. Maybe it's because we started Vert over there? Who knows?

Cerebral Vortex: Lots of hunger and dedication. The kids are really eager and righteously studying the science of hip-hop.

Tell me a bit about how you first got interested in hip-hop.
E: I was sitting on a bus, going on a field trip from a summer camp that I was in, when I was six or seven. I guess we had the cool bus driver because he was letting kids play tapes on the bus stereo. This one kid busts on LL Cool J's "Bigger and Deffer" and as soon as I heard that beat and LL like "I take a muscle-bound man and put his face in the sand..." It was over for me, I fell in love that very second. Stayed tuned in ever since.

CV: My uncle was the first rap artist to sign with the punk rock imprint Alternative Tentacles in the early '90s. Just being around that type of environment as a kid made me want to play a hands-on part in the budding culture. It was interesting to me how all of these equations formulated into one.

Who are some of your influences, both inside and outside the genre?
E: Inside, I mean there's the obvious ones that you can't help but be influenced by - Mos, De La, Tribe, Common, Nas, J etc-but then a few of my personal influences are Boogie Monsters, 3rd Bass, and Slum Village. Outside ? I have always drawn inspiration off of Edith Piaf, Shirley Bassey, John Lennon and Dylan, and actually quite a bit of punk rock from the '90s. I'm a huge NOFX fan!

CV: Eric B and Rakim, Bjork, Cyndi Lauper, Kwame, Prince, Fast Eddie, 3 Times Dope, Portishead, De La Soul, ATQ, Outkast, Gant Man, Kilo Ali, Boogie Monsters, Digable Planets, TV on the Radio, Biz Markie, Pete rock and C.L. Smooth, Zelda, Tracy Chapman and A Gun Called Tension.

You mention a lot of members (of Vertual Vertigo) who have come and gone. What's kept the core together?
E: Yeah, I mean when we started it was just me and Vortex, back then Cea3 and Medisin, but we had a bunch of different cats join the group for a little while and then leave. I think when it comes down to the Vert, it comes down to the brotherhood that me and Vortex have. It makes a big difference on the road, it can get ugly, and after 2 or 3 weeks touring in a cooped-up minivan, true colors come out of cats. DJ Japandrew is here to stay though! I would do anything for that dude!

CV: What's kept the core together has been essentially the foundation. We're brothers by cause, binded by a mutual love for what was, is and will be.

What's your take on Chicago's current hip-hop scene?
E: I think the scene in Chicago is always changing, constantly. When I first moved here, it was way underground, and we used to go to jams at ITC, shouts to PYRO, PUKE, WYSE and PEPS, ALL AIR CREW, or Tuesday nights at Sub-T when Bucktown was buck. But now, it's finally all the way out of its shell. It's nice to be able to go to shows and not worry about cops or gangs, or BS nowadays. I think it took the city's most relentless heads to build the scene to what it is today, and now everyone can enjoy it! Big ups!

CV: One thing about Chicago's hip-hop scene is that it's deeply rooted, very passionate and soul driven. And on any given day or night you can be walking down the street and come across your fave artist or DJ, past or present and acknowledgement is born. That's love and respect.

Tell me a little bit about the Good Will Hunting EP.
E: When we sat down and recorded the EP it was cold as hell outside and we were all twice as broke. Japandrew started cooking up beats in my basement on a super-old PC and a dusty ass turntable, it was really minimal, but during the height of the recession it seemed appropriate. At the same time the thrift stores were our only means of new gear and a Link Card was our only means of avoiding starvation. The EP pretty much paints a picture of how much we love hip-hop, and that no matter what we can keep it moving! You can download the whole EP for $5 at vertualvertigo.bandcamp.com. Our new full length LP is on iTunes too, Sparkies Bungalow.

I've noticed that the sneakers are always fresh. Any one in particular you're feeling right now?
E: This year's drops have been kind of disappointing to be honest, but I'm scoping for a pair of the Vans pea coat Chukkas. My guy Ike showed them to me yesterday and the jelly mode kicked in my stomach instantly. I totally slept when they dropped. Also the Reebok/Bodega pumps that just dropped, those joints look like you rocking tanks on your feet, but I always keep a fresh pair of J's and Alpha force 2's in the stash. Barkley had the dopest kicks in my opinion.

CV: Being fresh is part of hip-hop. The one pair I'm feeling in particular right now is the Nike Air Carnivore trainer hybrids. I'm losing sleep at night praying that Nike is going to officially release these and they won't go out as another pair of dope ass samples that never see the light of day. Other than that I'm burning rubbers in my fives with no laces.

Any favorite spots in Chicago to relax, shop, eat, perform?
E: Shopping: St. Alfred's, Uprise, Good Will and Salvation Army, Belmont Army, Juggernaut, Gramaphone, Reckless Records, Aurora Outlet Mall. Relax: Lava Lounge, The Crocodile, Sonotheque, NV, Moonshine, Smartbar, and Nick's Beer Garden after hours is always fun! Eat: Maxwell St Polish, Underdogg, Portillo's, Logan Square Farmers Market on Saturdays, Jewel Osco and Dominick's, the Link Card baby! As far as Performing: The best spots for shows are at: Sub T, Abbey Pub, darkroom, and Black Gate Studios.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 16 Nov 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/jrell.html About three months ago I received an email requesting my presence at the Red Bull Big Tune Beat competition, a tour that pits producers in head-to-head beat battles. I've been to functions like this before, but I wasn't sure what to expect considering this one was sponsored by Red Bull, which, as a brand, seems to have its finger on the pulse of the underground hip-hop scene. Walking toward the entrance of the Metro, I noticed a mammoth black SUV with the Red Bull logo splattered on the side. Inside the beast a DJ was spinning and in the trunk was an Xbox 360 available to pretty much anyone wanting to play. It was obvious that a lot of money went into this event. Could these producers measure up?

There were some notable names among the 12 competitors, including last year's winner, Tall Black Guy. As the competition progressed, though, it was clear some belonged there while others didn't; it was also clear that the producer who stood head-and-shoulders above the rest was Chicago's own J-Rell. The ease with which Rell dismantled the competition was noteworthy in itself, but what really impressed me was his humble, matter-of-fact demeanor. It's clear that regardless of who he's "competing" against, ultimately he makes beats for himself.

In the end, J-Rell edged out J-Mac of North Carolina, and the affluent crowd there knew they had just witnessed an important moment. Since the competition, Rell's name has been floating around some deep circles and big projects seem to be on the horizon. Centerstage recently caught up with him to see how he got started in producing and how winning the competition changed his life.

What was it about hip-hop that spoke to you?
Two words: no restrictions. To me, hip-hop is a culture that many misinterpreted as a bad culture to be part of. In the world of hip-hop you can turn nothing to something, from something to a much greater height of discovery. I first got into hip-hop around the age of ten. First group I ever heard of was Wu-Tang Clan through a relative. As time flew by I started listening to artists from mainstream to underground to unsigned hype. Overall I just love everything about it from the music, fashion and the creativity behind it.

How did you get interested in production?
I started off DJing at the age of twelve. The mentor who played a huge part in why I do both DJing & producing is Boolumaster. He's a well respected DJ in the city and I was the lucky kid who received the pair of turntables from him on Christmas day. It was also on his MPC 2000 beat machine where I had my first taste of making beats. I didn't start getting more into it until I received my first computer on which I downloaded a version of Hip Hop EJ. The program was loop only and you can only use the sounds built in it. As years progressed I was able to buy more equipment and software to help mold my sound.

Who are some of your influences inside and outside of hip-hop?
I'll have to say inside the genre will be producers such as J.Dilla, Kanye West, Focus, Nottz and Rza. Outside the genre I'll have to say the veterans such as Gamble & Huff, Quincy Jones and also Daft Punk. Doing your research on producers before you can really help your style in a good way.

As a producer you're the architect. What's your philosophy going into it?
Making whatever feels and sounds good to you. A lot of "beat-makers" go out of their way to just make what seems right for the radio or playing it safe. Not realizing that they are just a clone of the original creator of that particular sound at that moment. Hence why a lot of songs out now sound the same. When I approach a beat I go through my checklist. Is it creative but not over the top to where it'll be hard for the artist to express their creativity over it? Above all else, do I like it? I'm my own worst critic and won't save a beat unless I feel like I can play it twenty times that day and enjoy it every time.

Do you have a different approach if you're producing for an MC?
Not really. What normally happens is I'll know beforehand what that particular artist likes. I'll play or send a few beats that I can hear he/she over, give them my idea as far as a song subject matter and we'll build from there.

Are you working with any MCs right now?
Yes. To be honest ever since the Red Bull Beat Battle, the demand has definitely increased. I'm currently working with artists such as Enigma, Prallem, Dave Pracyse, YP, 3tre, Esohel and a list of others. I'm focused on making the best music possible with those that appreciate art.

Tell me about the Red Bull Big Tune Beat Battle?
It's a head-to-head producer battle that was held here in Chicago. Out of around 220 submissions, twelve producers were chosen. Each producer played two beats and the crowd made the ultimate decision on who stayed and who went home. I was blessed to be able to win the crown as Chicago's '09 Big Tune Champion and compete in the finals in Atlanta in November.

There was an interesting blend of competitors there; you had your old-school heads, the younger generation and some progressive-minded producers. In what ways is this batch of producers changing hip-hop?
I wouldn't say it's changing hip-hop but that it's what makes hip-hop what it is today. A melting pot of different sub genres and regions that you can go to based on your personal preference. You need variety and without it you're stuck with an abundance of the same thing. If you get tired of mainstream you can run and find something fresh and new underground and vice versa.

What do you think about the underground's relationship to mainstream hip-hop?
Unfortunately it has always been segregated. Underground you have more freedom musically but less perks - no huge budget, or extravagant tours - to where mainstream you lose a bit of freedom but you gain much more as far as marketing to get more fans, radio play, and in most cases money. But at the end of the day both influence each other and I would personally like to hear more underground heard on a wider scale, but that's another interview.

How have things changed since the competition?
For the better! More people have reached out for collaborations, the name J-Rell is ringing a little bit more, and it's something I can add on to the resume so I can't complain at all. I'm very humbled by it.

What's the next step for you in terms of continuing your success?
Not limiting myself to just one thing. From here, I'm working on building my brand not only as a producer but also as a DJ which is my first love, music artist, and artist development for musicians I work with. I feel that's one piece missing from the industry, which is the molding of an artist past their one hit single and to help bring longevity in their careers. Mark my words, Jeff; it won't stop here.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Sun, 01 Nov 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/terriblespaceship.html Terrible Spaceship is a group of musicians who get inspired simply by looking up. Its sci-fi sound features an incredibly funky combination of head-nodding drum breaks, gravity-defying melodies and choppy guitars, which are all weaved together by cleverly placed snippets of film dialogue. Thanks to polished musicianship (five of the members are also in longtime Chicago funk collective Bumpus) and elaborately crafted stage shows, the group seems destined for intergalactic fame. Still, bass player/composer Travis Chandler took some time out to give Centerstage the whole story on Terrible Spaceship's mysterious origins and futuristic plans.

Who makes up Terrible Spaceship and what are your respective talents?
There's a small army of us. I'm [Travis Chandler] the bass player and composer of the music, Zack Marks is on drums, James Johnston plays guitar, Andy Rosenstein is on keys and glockenspiel, Brent Pulse and Adam Kaltenhauser play a wide variety of bells, whistles and samples we collectively refer to as the "science," and Whit Nelson runs our video show, which Tim Frick helped to create.

How did you guys form?
I'd been saving up break-beat instrumentals for years while playing with the band Bumpus, but hadn't really done anything with them. One day I was in a thrift store with my girlfriend and found a record of the 1938 Orson Welles "Invaders from Mars" performance on sale for 99 cents. I brought it home and threw it on, and was totally mesmerized. It's such a great story, and Orson Welles is an incredible narrator. On my second listen, I started realizing how fun it would be to wrap my instrumentals around the narrative told on that 1938 record. I never thought it'd be a live act, but when a couple of my bandmates pushed for the idea, we decided to give it a shot as a performing band. We took clips from old science and social education films from the era and developed an accompanying video that tells the story as well. So far we've played three shows, and it's going really well, I think. We're not like anything else I've seen, and I'm proud of that.

The science-fiction theme seems like a fully realized concept for you.
I've always been drawn to cinematic music and big beats, and with this project I've really been able to do both, which is exciting for me. It's also incredibly fun for me to work this material into a narrative, and that's really become the hallmark of this band. The first record was completely driven by that 1938 Orson Welles record. The second album, which we're performing the first five songs of live, is based on an old sci-fi movie. It's the story of Zontar, an alien determined to rule the planet. Come see the live show, and more of the story will unfold.

With so many heads involved, what goes into making a song for you guys?
I write all the songs at home on my couch. Sometimes other places, but I'd say 99 percent of the tunes I write are put together on my laptop while sitting in my living room. How exciting is that?

The songs are composed exclusively in Garageband, the free software that comes with Macs, and I bring it to Chris Harden at IV Labs for mastering. Then the band and I work the song over like crazy for live performance. Usually we memorize and play everything exactly as it is, and then begin to branch out slowly from the original tracks. I am very, very lucky to work with such talented and patient bandmates on this stuff. It's a really difficult act to pull off live ? when you are syncing the music to video, there is no room for mistakes. The guys put everything they've got into it.

What's a typical day like for Terrible Spaceship?
Run the set, run the set with video, have a beer, run the set with video again...

How did you link up with Stephanie Izard (of "Top Chef") for her new show?
We all like Stephanie. She's great, and one of James' old friends. They go back long before her victory on "Top Chef." James asked me if I'd be up for scoring her podcast, and I love that kind of work, so I agreed. Stephanie is incredibly fun and easygoing, which makes her a delight to work with. Her new restaurant, The Drunken Goat, is opening up soon, and I plan to eat there as often as I can.

How does Chicago inspire Terrible Spaceship?
This is the city of my birth, and I love it. I feel like Chicago artists are always trying a little harder than everyone else, struggling to be heard above our noisy coastal competition. I'm proud to be a Chicago artist.

Where can we grab an album?
The first record is currently available on iTunes. The follow-up record, Terrible Spaceship presents: Zontar, The Thing from Venus! will be available by the end of the year. You can check us out at http://www.myspace.com/terriblespaceship.

What other projects do you have coming up for this year?
Raising my four-month old daughter. That ought to keep me busy enough.

Extraterrestrial life in Chicago, your thoughts?
Yes, please.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 19 Oct 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/adad.html Born and raised on Chicago's South side, Adad learned early on the necessary skills to become a great MC. His tenacious delivery and reputation as a ferocious competitor first began while rhyming at what he describes as a "bootleg poetry jam" that "threw strip shows that high-school kids could get into." The somewhat seedy environment ignited a need in Adad to articulate the realities of life through rhyme.

It didn't take long for fellow South Sider and hip-hop fanatic Tone B. Nimble (co-founder of the All Natural label) to take notice, which ultimately led to Adad's stellar performance as one half of the group Eulorhythmics (Kenny Keys being the other half) on the album Extended Play. Since the release, Adad has kept somewhat of a low profile, but has surprised fans with two highly acclaimed mix-tapes, "St. Alfred Edition" and "Black Milk Edition." In recent months he's announced even further-reaching projects, including Green Street N Avers (the follow up to Extended Play) as well as an album with super-producer Exile, a Dilla-inspired producer who helped propel the career of underground phenom Blu. It seems that Adad has positioned himself for a good run in 2009, so Centerstage caught up with the busy MC to learn more.

Tell me a little bit about where you grew up and how you got interested in music?
I grew up on the South Side of Chicago, broke like everybody else, happy with a moms and pops who handled business.

What was it about hip-hop that spoke to you in particular? Do you remember the moment where you were like, "OK this is what I want to do"?
I knew it was on when I first freestyled in my freshmen orientation against a junior who was giving us a tour and trying to impress the incoming freshmen girls. It was my first time ever coming off the dome. It made me angry that he was trying to pass writtens for frees, slaughtered him. But when I heard [Black] Thought [of The Roots] do "Distortion to Static," the truth came to light and I had to own this game. As far as what made it speak to me it was my whole life, I grew up in it.

Can you take me back to your first performance?
It was at the world's most bootleg poetry jam buried somewhere deep on the South Side. It was a weekly competition that I kept getting slaughtered at; always second or third to this dude who called himself, "the raper man." He did poems about all of his felony offenses, some including what his name suggested. It was a ruff crowd, artistic thuggery in a dank room serving liquor to minors on 76th and Vincennes. They also used to throw strip shows that high-school kids could get into, fun stuff.

How did you meet Kenny Keys and was the development of Eulorhythmics a natural process?
Eulo wasn't a process it was an instant, we never discussed becoming a group or collaborating - we heard of each other, studied each other, met and made music. We're brothers, as close as you can get without sharing DNA.

It seems that you guys have been inactive for a while, but I hear a new album is complete. Tell me a little bit about that and what went into the project.
The project is about being an adult male, nothing more nothing less. The thought process, growing to own up to your mistakes, it's a sober piece of work. And if you don?t like real life music, your loss, because we're talking about exactly what you have and are [and] will be going through. The project itself is just derivative of Kenny and my daily conversations - that?s how we build songs. We sit down, blow trees, drink something and somehow when the smoke clears, always in one sitting, there's a song done, from start to finish. It's cool.

Will the album be released under All Natural? How?s the relationship between you and them?
Tone is my big brother; he keeps me grounded and humble. You know how you can have a grand vision but sometimes lack the insight to respect the painful and tedious steps it takes to win? He keeps me mindful of what a man's work is in this game. The label is real because they don't sell dreams, yet they invest. It's about being realistic but realizing you create your reality. I'll never leave All Natural. For every inch that I grow, so will my team. And yes, Green Street N Avers will be released through All Natural.

As a solo artist you?ve been linked to some amazing producers, Exile most recently. Are you guys working on a full-length together? What label is the new project going to be released under?
Tentatively we're looking forward to releasing our full-length through a label I'm not going to name, but it's a good label with a lot of respect and a hard-earned, well-deserved quality reputation. We're looking to drop by second quarter of 2010. Exile is the truth, wonderful to work with and very much a pure artist. I look forward to spending some time with him in the lab this year and I feel in my deepest of hearts he's equipped to help me grow as an artist and garner some valuable attention in this industry. Thanks for believing in me EX.

It's refreshing to see local talent branch out and work with some of the talented producers out West. I don't see it happen very often. Do you think that's a rut that Chicago has been caught up in?
For certain, Chicago does not nurture a sentiment of cooperation or shared glory. I think on an industry level our collective attitude is, well, infantile. Nobody seems to look at the big picture: No man's an island. If I shine you shine. Not us, it's all about me. I don't get a lot of love here. Nonetheless, for everybody making moves, hustling, struggling, I want to see ya'll shine.

What's your take on Chicago hip-hop right now?
I think it's the strongest it's been since I've been in the game. There's a gang of talent and some real live hustling going on.

What are some of the things about Chicago that inspire you?
The realistic and raw nature of the city, nobody holds a punch, people barely support each other. It's teaching me to grow teeth and be independent.

You seem ready for a big year. What are some projects we should keep an eye-out for?
Aside from Green Street N Avers, I aspire to drop an official project for each fiscal quarter of 2010 starting with Exile. I plan on following up with an EP on San Francisco's Frite Nite label featuring Low Limit of Lazer Sword from SF and NYC, Mr. Dibiase of Brainfeeder from LA and Salva. Also, crossing over into the beat culture movement happening on the west coast, an EP with Proh Mic, the gifted MC/singer/producer of recent Hawthorne Head Hunters fame, a self-produced project called MR. MIDNIGHT and a prolific, classic LP release of my own are in the works for the following year.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 05 Oct 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/caural.html Born into an environment of rich musical appreciation, Zachary Mastoon, aka Caural, learned early on to embrace the limitless possibilities of sound. Starting as young as four, Caural has experimented with compositions by using everyday noises and melodies. By the time he finished college, he had found a thoughtful balance between his background as a trained jazz guitarist and the progressive creativity he picked up on while splitting time between Chicago and New York. The constant changing of scenery was an asset for him in terms of avoiding any one-dimensional loyalties toward a regional sound.

Like many experimental producers who share the same vision, Caural proudly cites luminaries like Miles Davis and Stevie Wonder (specifically their jazz-fusion eras) as sources of inspiration for his lush soundscapes. But what separates him from artists like Prefuse 73 and Flying Lotus is his ability to add a melodic, almost liquid-like motion to his arrangements. He's collaborated with a wide array of musicians and has released projects under some of the most cutting-edge electronic labels including Plug Research, Sound In Color, Chocolate Industries and, most recently, Mush Records. To say Caural is a connoisseur or musicologist is a bit misleading, so Centerstage caught up with him to hear about his personal musical theories and where they will take him next.

You have a very eclectic background in music. What were some of the experiences that stood out to you as instrumental in your development?
There were so many really; my parents' stereo system and record collection helping me to fall in love with music from before I can remember, my cousin Andy and I recording piano and toy duets on cassette beginning when I was four or five and then teaming up with my neighbor and surrogate older brother Stuart Bogie to do more tapes together when I was six. I think some of my earliest experiences with music - even recording songs from MTV onto my Fisher Price cassette recorder - brought me more in touch with sound and melody as a part of everyday life, and that's a connection one doesn't lose.

You studied music at Wesleyan. How does your education in school compare to the education you received on the road or on stage?
I don't think you can compare the two. For the most part, academia focuses on strengthening the mind. You learn how to "name" certain sounds and styles, and you build technique and hopefully a broad base of historical comprehension, but these are activities of the mind and the mind only. I think it was John Coltrane who said something to the effect of "we learn musical theory to forget it when we play," which of course is a butchered paraphrase and possibly a misquote to begin with, but it is true. The academic study separates you from the experience and creation of music, which I don't think is intellectual at all; rather, it is instinctual. So, if anything else, studying music history allows you to understand context and inspire you to take next steps forward, and music theory gives you the tools with which to do so, though - at least in my case - music theory helped me to better elucidate what was coming through me to begin with.

You have a background in jazz and I think that comes across particularly in how you use your samples. What are the similarities in jazz and hip-hop as far as composition goes?
Although I studied jazz guitar and improvisation, I find hip-hop from a producer's standpoint to have nothing to do with jazz, to be honest. An emcee or a graf writer or a dancer is better aligned with the spirit of jazz, which means being fully present in a moment, listening, and responding.

Listening is the most important part of being a good jazz player - not playing - and you can tell how aware a musician is by what he or she adds to the whole picture. Producing tracks, on the other hand, can often be a very methodical process. While it may cease to be after you have gathered all the sounds and you begin improvising with what you have, there is still always an element of dissociation from the moment because you are constantly revisiting how everything is coming together (i.e., is this really the snare I want, is this bass sound working, do I like this reverb, etc.). So, in short, producing allows you to stop time - or at least really slow it down - and carve out each moment individually, while jazz is all about now, and listening to what is coming through you and everyone around you.

I think people often call something "jazzy" either because someone samples piano, or upright, or a saxophone, but that doesn't make it jazz. Kenny G plays the saxophone, and his music is the farthest thing possible from jazz.

You cite Miles Davis as an influence. How did albums like Bitches Brew and On The Corner change things for you?
Miles Davis was perpetually reacting and growing, and he was one of the most monumentally important bandleaders in the jazz period. It's not that he was a phenomenal player - he really wasn't; what Miles Davis did was produce. He got the right people together, listened to what was happening outside of jazz and incorporated it into his sound to redefine what jazz itself sounded like again and again.

So, for me, I didn't and don't want to make beats - that is the most ridiculously boring and pointless shit possible. I am interested, however, in taking elements of what some consider to be hip-hop, or rock, or ambient, or noise, or whatever, and make songs, and evolve as an artist while hopefully offering something unique to music. The more people who discard these arbitrary boundaries and act on what they feel, the better art will we be. People who have made the same rap records over and over again because hip-hop is this exclusive culture, well, they are the reason that that art form is so completely dead and irrelevant nowadays.

I've read in an interview that you?re not part of any particular scene here in Chicago. What is it about the city that inspires your music?
I think that was a particularly old interview, but it's still true today. I had been living in NYC for the last ten years on and off, and just moved back here almost two years ago now. I don't think anything in particular about Chicago or New York directly influenced my stylistic choices per se; It's just how I react to the energy of a place that takes my sound in a new direction. I do think Chicago is a beautiful city, but as far as inspiration goes, it's pretty hard to pinpoint anything outside of me.

Can you give me a brief description of what a perfect day in Chicago is like for you?
Wake, practice yoga at Bikram College of India Chicago, meet friends for brunch outdoors, maybe take a bike ride on the lakefront or go to a street festival, have some wine, check out live music, try a restaurant I have never been to, and enjoy people-watching afterwards at a lounge somewhere. That's a hard question...there's always too much to do!

It seems that you're just as inspired by the visual as you are the audible. How did you link up with Cody Hudson and what were some of the things you worked on together?
I met Cody years ago through Seven at Chocolate Industries, and have always admired him and his work. Funnily enough, I did music for a documentary called "The Run Up," and my music was used in his section totally coincidentally!

A year ago, he approached me about doing a soundtrack of sorts to an installation he created out of tambourines, so I made a track out of all tambourine samples. The installation opened in LA originally but, when it came to the Andrew Rafacz Gallery here in Chicago, Cody added a video element to it as well, and it became this almost tribal, cult-like initiation piece - at least, that's how I experienced it! We have been talking about working on something else together, but time has so far prevented it.

Do you still work with Chocolate Industries? What projects are you working on now and do you have a release date for another solo album?
It has been years since I last worked with Chocolate. My last two albums were on Mush. Lately, I have been wrapping up a project called Boy King Islands, which is more or less shoegaze rock: zero samples. I have done a slew of remixes over the last couple of years which are still getting released slowly but surely, and an artist in the UK is doing a video of one of my newer songs for a DVD on Eat Concrete. I have been performing live with my old friend K-Kruz, and he and I will start work on a collaborative electronic project as well. Though, for now, I have been much more excited about picking up a guitar or beating on a drum set than pushing buttons...

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 21 Sep 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/worldmusicfestival2009.html 1999 essay for The New York Times, calling the term a "catchall" for non-Western music of all kinds, and a "name for a bin in the record store signifying stuff that doesn't belong anywhere else."

Despite his concerns, though, we're guessing the cosmopolitan musician would have a hard time boycotting Chicago's World Music Festival, the latest installment of which runs September 18-24 in venues throughout the city. This year's fest again boasts a talented lineup, which this year includes 27 acts making their Chicago debuts. While there are plenty of worthy local acts on the bill as well, we'll stick to recommending the ones you can't see very often. Sorry, David - foreignness just seems more exciting.

photo: Hans Speekenbrink

Check out Centerstage Chicago food and drink deals! ]]> Fri, 11 Sep 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/isisrose.html Like many singers before her, Isis Rose first started singing in church. Her voice is as silky as it is raw, and depending on the situation she can sound like Ani DiFranco one moment and Cat Power the next. In recent months she's been working on a solo EP as well as some collaborative projects with Iowa Rockwell, Ill Legit (of The Gent$) and Monster Mash. It's anybody's guess where this budding songstress will land in the next few months, so Centerstage caught up with her to see if we can get a heads up on how she got started and where she hopes to find herself by year's end.

Where were you born and how did you get interested in singing?
I was born and raised here in Chicago and love this city. I've always been interested in music since I can barely remember. It was always something that piqued my interest. My uncle had a piano in his house and I remember learning how to play and sing whole songs by ear once he taught me the basics. I just continued on since then. I was in choir throughout school and picked up the guitar in high school.

Can you take me back to the first time you performed live?
I've been on stage since a young age, but the very first time I performed my own music was at a church youth event as a teen. I had a 20-minute set with a whole band and all original songs. It was very liberating.

Do you have any singers that you draw inspiration from?
I don't have one particular group of singers that inspire me. I think it's more the way a song is structured musically and lyrically, and if it makes me feel like I need to step my game up then that's inspiration in and of itself. It's because I draw inspiration from many genres and many artists, and inspiration from life itself.

Chicago has its own resume of legendary soul-singers. What about the city inspires you?
I love the way the city comes to life on warm summer nights. There is always something to do for everyone in Chicago. I think that inspires me the most. Plus it's such a diverse city. If I want to be cultured in something, I can just go to that neighborhood and learn. It's like going to a different country in a minute way.

I've heard a lot of people sound off on haters, your thoughts?
They're fans in disguise. I say haters are just people who watch and listen enough to have an opinion. If you have haters, you know that people are paying attention. Of course it would be easier if it was constructive, but we all know that's never the case.

You've worked with The Gent$, most recently with Ill Legit. How did you link up with them?
It was all pretty much a domino effect that I got to work with them. I met artists and musicians that introduced me to other artists and musicians. I collaborated with a couple of them, and wound up at a show that Ill Legit was performing at. We exchanged some great musical ideas and began to collaborate very easily. It was through him that I formally was introduced to Pugz Atomz and Wes Restless. All three are very talented. And the rest is history.

What projects do you have coming up?
Other than singles, I'm working on two EPs right now. One with solo music that will be out by the end of the year and one with myself and Ill Legit that we're releasing very soon. Look out for them both.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 07 Sep 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/jazzfestival2009picks.html Hungry for more than jazz? Find a place to feast for less near Grant Park.

Friday, September 4

Fareed Haque

Jason Adasiewicz's Rolldown (Jazz on Jackson Stage, 2:20?3:15 p.m.)
Vibraphone virtuoso and revered collaborator Jason Adasiewicz issued his long-awaited debut as a bandleader last year under the auspices of Rolldown, a taut quartet that utilizes the abilities of other acclaimed improvisers and composers in Chicago's thriving avant-jazz scene. As the group prepares a sophomore release for the end of September, concertgoers are treated to its wandering, melodic passages.

Jeff Parker Quartet (Petrillo Music Shell, 5?5:50 p.m.)
As one of the city's preeminent jazz guitarists, Jeff Parker has graced countless collaborations and improvisations across Chicago, from the Velvet Lounge to his weekly gig at Rodan. He remains best known for his work in jazzy, electro-infused post-rock group Tortoise, but his full-blown jazz performances encompass the vast majority of his work. Here he performs with his quartet, which last released an album in early 2005.

The Trio f. Muhal Richard Abrams, George Lewis, and Roscoe Mitchell (Petrillo Music Shell, 6-6:55 p.m.) Featuring three prominent members of the Association for the Advancement of Creative Musicians (AACM), The Trio boasts a powerful triumvirate of improvisatory talent. Pianist/multi-instrumentalist Muhal Richard Abrams, trombonist George Lewis and multi-instrumentalist Roscoe Mitchell gather for one of the finest evening performances of the festival.

Greg Ward

Saturday, September 5

Nicole Mitchell's Black Earth Strings (Jazz on Jackson Stage, 2:20-3:15 p.m.)
A master musician and professor in the Chicagoland area, Nicole Mitchell is a paramount voice of jazz flute in the Midwest. Her melodic, whirlwind runs are a hallmark, flavoring her sundry creations and those of other luminous coconspirators. This chamber edition of one of her most lauded creations, Black Earth Ensemble, establishes a playful oeuvre that calls on African rhythms as well as a jazz-rock kit. The group's great studio debut, Renegades, was released on Delmark in May.

80th-birthday jam w/ Fred Anderson (Petrillo Music Shell, 5-5:50 p.m.)
Following a mid-August celebration of his status as an octogenarian, freewheeling saxophonist and local legend Fred Anderson returns to Grant Park for another hurrah with special guests. He officially hit the big 8-0 in March, but now Anderson's milestone is commemorated at the city's biggest jazz event.

Dave Holland Big Band (Petrillo Music Shell, 8:30?9:30 p.m.)
British bassist/composer Dave Holland has spent nearly 40 years creating or partaking in influential works, including performances on Miles Davis's landmark albums In a Silent Way and Bitches Brew. His big band is a well-endowed ensemble, belting colorful riffs from a horned frontline and keeping a cool backbeat with a steady rhythm section. For feel-good sounds of yore, don't miss this.

Sunday, September 6

Muhal Richard Abrams

Old Town School of Folk Music You may know the Old Town School as a performance venue, but it lives up to its name by offering a full load of classes for all ages at both its Lincoln Park and Lincoln Square locations. Professional musicians teach group sessions on everything from the accordion to the ukulele (this is one school where the old "those who can't do, teach" adage definitely does not apply). Most adult classes cost $150 for eight weeks. If you're wary of commitment, try a two-hour workshop ($25), where you can get quick instruction on DJing, bluegrass banjo, dobro and more. Don't have your own instrument? You can rent pretty much anything you'll need on site.

People's Music School Dr. Rita Simo has run this Uptown institution for 30 years, and it's hard to imagine how many classical musicians might never have picked up an instrument had it not been for her. The free (yep, free) school offers theory classes for children and adults, as well as instruction in piano, strings, woodwinds, brass, percussion, guitar or voice. But just because it's free, it doesn't mean you can take the weekly sessions lightly. Each student must sign a contract that pledges regular attendance, active participation in fundraising events and two hours of volunteer work per month. A rigorous jury review process will help ensure you keep your neighbors awake with hours of late-night practice.

Chicago Center School of Music The former zZounds School of Music at Pipers Alley has grown up, and you can develop right along with it, with group and private classes for all ages in a variety of disciplines. Try the intermediate jazz piano workshop ($50), or learn how to set up your own home recording studio with the Cubase system ($250). Kids have a wider range of options, from rhythm circles to the opportunity to play in a real rock band with others of the same age. If you really want to get serious, tuition for private lessons will run from $421-$801 for a 16-week quarter, depending on the instrument you choose and the length of each lesson.

Music Institute of Chicago If you're in the 'burbs, there's really no reason not to check out the Institute. With four campuses (Evanston, Winnetka, Highland Park and Lincolnshire), this conglomerate has much to offer, from instruction in keyboard, voice and other instruments to art therapy classes. Spend your summer learning the trade at several different camps, institutes and festivals, then show off your newfound skills throughout the year at one of the Institute's weekly recitals.

Paul Green's School of RockThe national institution may have been the inspiration for the 2003 Jack Black comedy of the same name, but this after-school program is no joke. With the motto "saving rock & roll one kid at a time," the school's goal is to foster a new generation of rockers by concentrating on both musicianship and showmanship. Before too long, students will find themselves playing real concerts at Chicago venues like Subterranean and the Beat Kitchen. The School of Rock All-Stars even got some stage time at Lollapalooza in 2007. The original School of Rock was founded in Philadelphia in 1998, but there are now outposts across the country including one in suburban Highwood (and another one in Evanston slated to open this fall). Beginners can try out the program for $230 a month, while intermediate players will pay a monthly tuition of $300 (these are the classes that will perform actual concerts). More spots to build your skills:

Sherwood Conservatory of Music offers a slate of popular classes including Reading Orchestra, Sing Out!, music theater workshops, adult cello and chamber ensembles and more. Private and group lessons on particular instruments start at $33 per week.

Suzuki-Orff School of Music has been providing classical musical instruction for a quarter-century in the shadows of Cabrini Green. Merit School of Music makes sure no aspiring musician is left back due to financial concerns; the comprehensive school serves a diverse population at a low cost. Avenue N Guitars offers private and group lessons in all styles of guitar right in its Wicker Park store. AACM School of Music gives students the opportunity to learn from some of the most talented black musicians in Chicago.

Check out Centerstage Chicago food and drink deals! ]]> Music Guides Sat, 15 Aug 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/1773.html 1773 (pronounced seventeen seventy-three) is a trio of artists that consist of MCs Just J and Wisdm One and DJ Moral One. On their self-titled debut, 1773 (minus Moral One at the time) introduced themselves as torchbearers for the golden era (early to mid-'90s) of rap. In recent months they've been busy touring Japan in promotion of their newest album, Return of the New, and since their return to the States they've worked tirelessly to promote the US version as well as a mix-tape entitled "Returning the New Stuff." The sophomore effort is 1773's most fully realized project so far, as it's the first time the Chicago natives were able to sit down together and build as one unit. Just J and Wisdm seem to have really found their comfort zone on this one, and they've matured in their ability to weave together centralized themes. And now that Moral One is officially part of the picture, the group's style as a whole is much more cohesive and appears destined for bigger things. Centerstage caught up with 1773 to see how their careers together began and where the next step will take them.

Where are you guys from originally, and how did you come together?
MORALONE: We're all from the North Side of Chicago - Logan Square, Humboldt Park. I really can't remember when I first met Just J or Wisdm ONE, because as long as I remember DJing the Chicago scene, I remember spinning for Wisdm and Jay as solo artists. When they started doing shows under 1773 around 2005 they naturally asked me to DJ the shows. I officially became a part of the crew in 2006 after I joined them on tour.

WISDM ONE: I had an idea to start up a group by the name of 1773 (1-773...the Chicago area code but pronounced seventeen seventy-three). Originally the group was supposed to be me and a producer but those plans didn't work out due to the timing of things. From there I decided to run the idea past J to see if he would be down to join forces and he was down for it. Moral started DJing for us as a group now but he wasn't an official member at the time. The more performances they did the stronger the bond as a three-man crew got, and it was only right to make Moral the third member of the group.

Can you take me back to the first time you guys performed together?
WO: Wow! As a group, our first official show as 1773 was actually not bad. We played at the Hothouse with Earatik Statik, Lab Rats and a crew named Smokey Bassment I think...

From the beginning we always wanted to stand out as a group who "put on a show." It was the first time anyone had ever seen us perform as a group and everyone that night was like, "where the heck did these guys come from?" It was cool to see how the people responded and gave back the energy that we were giving them.

Your name, 1773, pays homage to Chicago. What about the city inspires you guys?
MO: Its diversity, its segregation, its hope, its corruption, the North Side, its sudden burst of originality lately.

JJ: I find inspiration from the city as a whole. There have been times when I would just hop on the train and observe my surroundings just to have something to write about. I think that Chicago has so much to build from. It's diverse, yet segregated, spontaneous and predictable and lies in between the two other major cities in the states. That alone is inspiration in itself.

WO: Growing up here, the everyday life, the skyline, the people, the music, the different neighborhoods, the different cultures, Logan Square, Wicker Park, Humboldt Park, Downtown, our families, our friends, the Chicago artists who came before us and so much more. It's the City of Wind!

Tell me a bit about your debut album.
MO: It was what we were at the time. It had some great musical takes from Ohmega Watts and Tony Stone. I'm proud of it; "Broken Star" and "Constant Motion" are hits to me.

JJ: Our debut album, which is self-titled, was more of a project than a collective group creating an album. Originally, Wisdm came to me and asked if I wanted to work on a few songs with him. I was definitely down mainly because we were like-minded musically. He was about to move to Portland in a week from the time he approached me, so he brought beats over to my house, and we just banged out all the writing that week. Then I flew out there to record everything a month later.

Now you call your sophomore album your "real" debut. Could you expand on that?
MO: To me it was a true musical partnership with Othello. The beat choices Wis and Jay made were on point and their writing matured. So if people were to ask me about 1773 I would give them this record. It's complete; it has golden-era bangers with "Its On Again," battle raps with "Don't Take," and some left-field stuff with "Corner Pocket." So it's bigger than just those 2 to 3 singles on iTunes, it's a complete record.

JJ: Well, we officially asked Moral One to join the group as an actual member while we were working on it. That was the first piece of the puzzle. Secondly, we selected production, came up with topics and such collectively. There's something about taking your time and working together, versus one person having everything prepared and the other just hoping on board. Plus, the overall sound of the album is very cohesive and has a uniform sound to it.

WO: Return Of The New, which will be out summer 2009, just represents who we are musically at this point in time. We've grown so much as artist from when we started back in 2004, and we just want to give the people our "right here and now." We put a lot of time, effort, work, blood, sweat and tears into this album and the end result turned out better than what we expected.

How did your relationship with Japan-based label River City Music Entertainment come about?
WO: They actually found us on MySpace. Their A&R at the time sent us a message saying that he really liked the song "Constant Motion" and was wondering if we would be interested in releasing a 12-inch with them. I told him that we had an entire album done and that I would submit it for them to listen and get back to me on what they thought. If they liked it then they could release the whole album, if not, then just press up the single of "Constant Motion." They ended up really liking the album and licensed it from us. In December of 2007 we released our first album, Constant Motion with River City and in March of 2009 they released Return Of The New [in Japan only]. We've build a pretty tight knit relationship with the label and things have been going really well with them. I can imagine the differences between Japan's hip-hop scene and America's, but what are some of the similarities?
JJ: Actually, there are a lot of similarities. Japan's scene kind of models itself after the hip-hop scene here in the states back in the 1995/96 era. From the way they dress, to the music they play. A lot of the shows we did felt like the shows and parties I used to go to back when I was a kid just getting into the scene here.

What do you guys have in-store for us when you come back from Japan?
WO: Well, we will definitely be performing more throughout Chicago and the Midwest. We'll be starting work on some new projects. Some things to keep an eye on: The release of the US Version of Return Of The New, a 1773/Vertual Vertigo EP, a brand new 1773 EP, a bunch of guest appearances on various projects nation and worldwide and some solo projects from all 3 members are also in the works. Check out 1773live.com for details.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 27 Jul 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/under21venues.html Besides being able to get into R-rated movies without asking the good-natured homeless man outside to buy you tickets, there's not a whole lot that changes when you turn 17. You're still a year away from most of the good stuff: porn, cigarettes, the military. But don't start channeling Janis Ian just yet; proving that they understand your plight, several Chicago music venues have opened up their doors to fans 17 and up (and, in some cases, enthusiasts of all ages). So get away from the Guitar Hero and have yourself a night out at one of these clubs.

Beat Kitchen
This Roscoe Village venue caters to younger fans of live rock music with frequent 17-plus shows and early all-ages shows (usually starting at about 5:30-6:00 p.m.). A lot of local acts and some national rock acts, from indie to hardcore, are known to make an appearance here. Come early and order a burger or thin crust pizza from their front room menu, or if you're low on cash, grab a $2 slice of pizza at the show.

Empty Bottle
While Empty Bottle's main location routinely hosts 18+ shows, the venue's music bookers also present all-ages shows at a number of locations in the Ukrainian Village/Logan Square area several times a year: AV-aerie, Logan Square Auditorium, Congress Theater and The Mansion. These shows usually cost $10-$15 and include the kind of dance-rock artists that appeal to the indie-music bloggerati (think Does It Offend You Yeah, Girl Talk, etc.), meaning you can check out the buzz acts before they get big enough to play the larger, 21-plus venues.

Metro
There was a time where Metro was the only game in town for rock fans younger than 21. While many of the big-name acts that play here do 21-plus shows, Metro has long been known for hosting its fair share of early evening all-ages shows, particularly festival-style shows and multiple-act bills.

Reggie's Rock Club
Since it arrived on the local music scene over a year ago, Reggie's Rock Club has offered up weekly all-ages and 17-and-under rock shows, from punk to doom metal, and less frequently local underground hip-hop. A few blocks from the Chinatown Red Line stop, Reggie's has quickly become an oasis for younger rock fans; the median age at many shows is about 22. Even better, you can kill some time browsing CDs and old vinyl at Record Breakers upstairs or buying t-shirts at the adjacent Reggie's Music Joint before heading to a show.

Subterranean
So your fake ID wasn't convincing enough to get you into the Double Door? No worries, head over to Subterranean less than a block away; the venue's second floor hosts at least one 17-and-over show a week (and the monthly Emerging Artists Showcase is all-ages). A lot of under-the-radar acts with passionate fan bases (like Dub Trio and Matt and Kim) make their way to this venue.

Check out Centerstage Chicago food and drink deals! ]]> Music Guides Fri, 24 Jul 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/livemusicforless.html So, you're trying to save money; you're certainly not the only one. But just because you're worried about your future, it doesn't mean you can't still have fun. Take live music, for example. There are concert options across the city that cost less than a premium beer. Here are a few to check out.

Go global at Old Town School of Folk Music's World Music Series
Wednesdays; free ticketed event, $5 suggested donation
Year after year, this esteemed music school teaches aspiring artists how to entertain themselves - and they do it on the cheap. But sometimes, you want to be entertained, not instructed, and that's where this seasonal series comes in. These globe-spanning shows cover everything from classical Greek music to Flamenco fusion, but you've got to reserve a seat - so contact the school's box office a few days beforehand if you're excited about a show (note: some events cost a bit more, especially those with big names).

Try something new at the Empty Bottle
Chances are, if you're a rock fan, you've discovered at least one new band to love at this Ukrainian Village hipster haven. So put some faith in the booker's taste by heading over on select Mondays, when little-known bands (even to music nerds) perform for free - it's a cheap way to enjoy one of the city's most legendary clubs, and you might even find a new favorite not even you're biggest music-nerd friends know about. If you prefer a known quantity, drop by after work on Fridays (5:30 p.m.), when the Hoyle Brothers unleash their hard-country honky-tonk for nothin'.

Discover the Double Door's unplugged side at the Dirtroom
$5
Most nights, a decent rock or hip-hop show is sure to be playing at the Double Door. But if too many of those $15 covers are burning a hole in your wallet, head to the Double Door downstairs bar, the Dirtroom, for an acoustic alternative. On selected nights (usually Sundays or Mondays) you can catch local musicians performing everything from folk and alt-country to lo-fi indie rock.

Immerse yourself in late-night jazz at Green Mill
No cover on Friday after 1:30 a.m. and Saturday after 2 a.m.
Uptown's historic Green Mill Lounge is a prime spot to see local jazz greats in their element. But on weekends, the venue reveals its reputation as one of the best places in the city for free live music. On Saturday nights, groove with Sabertooth, the local group that's been holding court at the Green Mill After-Hours Jazz Party for over 15 years. Be warned; though the Green Mill heats up well after midnight, the place is often packed by 9 p.m. If you dare to show up late, don't expect to get a seat.

Take a chance at Phyllis' Musical Inn
Cover is usually between $3-$5
Remember those grab bags you used to get at birthday parties when you were a kid? Think of this unpretentious dive bar as the grab bag of the Chicago music scene, with a rotating selection of live bands?jazz, hard rock, hip-hop?featured at least five nights a week. Many new bands from Chicago and across the Midwest score their first live gigs here. While that can sometimes lead to an evening of crappy music, you will occasionally stumble upon a undiscovered gem of a band or performer. Phyllis' is really more about atmosphere than music, but broad-minded music fans can still come away with an economical night to remember.

Go back to basics at Hideout
Tuesdays, 9 p.m.; donations accepted
When you don't have much money to spend, you learn to appreciate the simpler things in life - like an acoustic blues band playing in the corner of a bar (even when there's a perfectly good stage in back). Devil in a Woodpile's shows seem to come from a time before amplifiers, with their reliance on washboards, harmonicas and even kazoos. But the band (and the crowd, for that matter) offers more energy than you'll see at most large-scale rock shows. Grab a PBR, tap your feet and put a few dollars in the tip jar when it comes your way. You'll be glad you did.

Looking to see a big-name DJ? Many clubs (Enclave, Lumen) offer lower admission fees if you RSVP beforehand.

Check out Centerstage Chicago food and drink deals! ]]> Music Guides Fri, 17 Jul 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/hi-fidel.html Born into a family with rich musical and artistic traditions, Umar Rashid (aka Hi-Fidel aka Frohawk Two Feathers) lives to express. The quick-witted metaphorical storyteller has provided the lyrical backbone for three highly regarded albums: Traveling Between St. Louis and Chicago, FF Express: The Company of Wolves and Friday Night. Of the three releases, Friday Night (a collaboration with Serengeti that tells the tale of two friends, a missed date and a car crash with two transvestites) has been his most fully realized project to date, garnering accolades from esteemed publications like Okayplayer, Creative Loafing Atlanta and UGSMag.

As a fine artist, Hi-Fidel metamorphosizes into his alter-ego Frohawk Two Feathers to create even further-reaching multi-media sensations that often spotlight mankind's gorging of natural resources and the subsequent destruction that follows. His work has been featured in numerous books and galleries, including a recent exhibition at Taylor De Cordoba in Los Angeles. And as if he wasn't busy enough, Fidel just finished up Saturday Night (the follow-up to Friday Night), and is currently working on a folk album with Jesse Peterson entitled Crocodile Company. Centerstage corresponded with Fidel at his home in LA to talk about how his career as a fine artist/MC started.

I was wondering if you could tell me a little bit about how you got interested in music.
I got into music initially because of my father. He used to play all different kinds of music really loud when I was a kid. And when I say all different types, I mean soul, funk, jazz, reggae, psychedelic rock, The Stones and The Beatles. I come from a theatrical/musical background too. My grandfather played tenor sax with Lionel Hampton and there were always instruments lying around my grandmother's house.

Regrettably, I never learned how to play them very well. My father was not much of a singer, but ever the performer. He teaches acting at ETA Creative Arts on the South Side to this day.

Could you take me back to your first performance?
My first musical performance was in a giant cipher in Grant Park during the Taste of Chicago in '92. My brother and I rolled up on the cipher and proceeded to outshine the wack emcees that initially kicked it off. A high school friend, who I still believe to be one of the greatest beat-boxers of all time, happened to be nearby and provided us with beats. It was a fun and exciting time. I was just 15, and didn't have many written rhymes, and my freestyle was only potent after a few rotations, so I started spitting my friend's rhymes, Mike from Mass Hysteria. I didn't know that my friend G-Field, also from Mass Hysteria, was in the audience until later and was met with looks of disapproval. I have never been able to live that down. But hey, it was the summer of '92, the greatest summer for Chicago hip-hop. The summer of love.

You also make art outside of the music medium. Have both creative outlets gelled or are there separate mindsets for both ventures?
I try to keep my alter-egos separate. I generally stick to one per genre. In the art world I'm known as Frohawk Two-Feathers. I rap as Hi-Fidel. I do performance art as Kent Cyclone. I use my birth name, Umar Rashid, interchangeably with all of the disciplines. I've always enjoyed creating different characters.

Even as a graffiti artist, I would frequently change my name and my style. I like to think of it as evolving along a single line. A lot of my friends would criticize me and say things like "how do you expect people to recognize you?" and I would say "they won't, at least not all at once." Sure, all of the things I do are "connected" to a degree, but each manifestation is a unique, stand-alone entity. For me, it's more fun this way and I can reach a broader audience.

You did the cover art for the Yoome album, right? Why weren't you credited?
Yes, I did the Yoome album cover. It was a drawing from a series in an art exhibition I did here in Los Angeles at Taylor De Cordoba. Geti and I have been friends for a long time and he asked me kind of last minute to do the album cover. I was working on a new show, and didn't have much time to create something new. Geti then explained that if I had anything that was good, send it over. I did, and they used it, but I guess they didn't have time to credit their Two-Feathered friend. Oh well, I'm over it now [laughs].

Could you talk about your time here in Chicago and some of the inspirations you pulled from the city?
Chicago will always be my home and my favorite city in the whole world. I love everything about it from the architecture to the people, the rivers that criss-cross the city, the great lake, the food, and even the mindless internecine battles that are waged daily, with chivalry and savagery, upon its broad avenues. Maybe that last bit of poetry should find itself in the "things I hate about Chicago" column.

What was it that prompted the move out to LA?
I moved to L.A because it was the only affordable city with a large arts and entertainment scene that happened to be in the middle of my home, Chicago, and my wife's home, Sado Island, Japan. Plus, I've done brick and steel so why not surf and sand? Geography and large bodies of water are important to me, but other than that I have no real concrete explanation for my presence here. Maybe I'll end up on a sitcom.

I wanted to talk a little bit about the Friday Night album. I think it does a great job of telling a story without sounding convoluted. How did it come together?
Thank you. Friday Night is by far the best album I think I've done so far. I've always wanted to do an album with Geti [Serengeti]. We were supposed to make one in '99 but I was too busy staring down whiskey bottles.

Here's the skinny on how it all went down. Geti flew out here to record an album with me and the Breakfast Kings. We listened to beat after beat, wrote down some lyrics and were content to make a run-of-the-mill backpack rap album. We didn't have enough time to complete anything so we just recorded a few sessions. No excitement there. About six months later, Geti flew back to finish what we started but with a few additions. He said he wanted the album to sound like a Friday night and from there the magic happened. The Breakfast Kings retooled the beats from backpack soundtracks to packed club bangers. We decided to call our union Friday Night, and set out to make songs that reflected our personalities and ambitions. It was a very freeing time. The narrative was generated from the need to tie the songs together, and the more outlandish things became, the more we were inspired. The skits and hilarity that ensued was the byproduct of all of that. I can't wait to make the follow-up, but we need people to actually purchase the first one so, buy away people!

What?s the current status of the follow-up?
We are gearing up to work on the follow up-album, Saturday Night, later this week. It will follow our unscrupulous heroes on another crazy adventure. This time, everything takes place on a Saturday night. Hopefully we can get Black Spade, Micah James, Teluv, Kim Haden and the 87 Sick up kids on this one.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 13 Jul 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/tonebnimble.html Tony Fields aka Tone B. Nimble is a DJ/producer/party promoter who has helped play an intricate role in the development of the famed All Natural label (he's also one half of the group that goes by the same name). He started DJing in 1985 while attending Homewood-Flossmoor High, and it was there that he met Cap D and fostered the unmistakable All Nat sound. Throughout the years, the label has released some of the most exciting local hip-hop albums, including the classics No Additives No Preservatives, Second Nature and Deep Rooted. Recently Tone has been busy promoting two new projects - Da Mornin' Afta by Primeridian and Music for A Saturday Evening by the Black Stone Theatre Collective, both of which are attempts to branch out toward a wider listening audience. With three more projects slated for 2009, it appears that All Natural is looking to make this its big year. Centerstage caught up with label head Tone B. Nimble to get the skinny on what fans can expect in the coming months, and to get a rundown of his top five favorite albums.

I was wondering if you could tell me about when you first got interested in DJing.
I started DJing in '85 with Cap D. We were basically playing electro, early house, and a little hip-hop. He got into production and rhyming, and I stayed with DJing.

Did you have any mentors along the way or did you just hit the ground running?
I basically learned on my own by watching DJs at parties and listening to the radio, specifically Hot Mix 5 (Farley "Funkin" Keith aka Farley "Jackmaster" Funk, Mickey "Mixin" Oliver, Scott "Smokin" Silz, Ralphi Rosario and Kenny "Jammin" Jason, who were resident DJs of the defunct WBMX 'Saturday Night Live Ain't No Jive' show).

Being a veteran of the local DJ scene, how have you seen things evolve over the years?
There used to be a lot more room for creativity and self-expression. People used to rely on the DJ to introduce new music. Now the audience basically dictates what the DJ plays.

When did you first link up with Cap D, and what was the idea going into the development of the All Natural label?
The label was Cap's idea, I was just assisting him, but over time I took over the label responsibilities. The basic concept was to release our own recordings and [those of] other like-minded artists.

What are some of the obstacles you've had to overcome as an independent rap label? Has the city been supportive of All Natural's voice?
There are too many obstacles to name, but I think technology is at the top of the list; file sharing, iPods, anyone with a computer can basically record an album. The city has been pretty supportive, but industry has changed and we need to make changes to reach our old fans as well as new younger fans.

What's the status of your relationship with acts like The Pacifics, Daily Planet and Eulorhythmics?
The Pacifics and Daily Planet are both inactive right now. Eulorhythmics will release an album later this year.

Any new projects coming up?
We are moving away from just hip-hop; we released our first album outside the hip-hop genre last November by the BSTC entitled Music For A Saturday Evening
. Cap also has two projects in the works: Black Mecca, a hip-hop album, and The Stranger, a new-wave project he's been working on. Our next release will be Rita J's Artist Workshop.

Can you give me a rundown of your top five albums?
First I should state that this an impossible question to answer, but here are some of my favorites:

A Tribe Called Quest, Midnight Marauders (Jive) 1993
Raekwon, Only Built 4 Cuban Linx (Loud) 1995
Stevie Wonder, Songs In the Key Of Life (Motown) 1976
Calender, It's a Monster (Pi Kappa Records) 1976
Jamiroquai, Traveling Without Moving (Sony) 1996
Numerous Fela Kuti recordings

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 29 Jun 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/thegents.html In a time when hip-hop collaborations can get a bit stale, it's hard to find a group as freshly innovative as The Gent$, which consists of Pugs Atomz, Wes Restless, Ill Legit and DJ ALO.

Pugs and Ill Legit handle most of the lyrics, which allows Wes Restless to open up as a formidable vocalist; this gives the group a multitude of styles to build from. The trio has worked alongside producers The Opus and Maker (as well as getting contributions from Ill Legit, Limitless, V Traxx and Dario) to create a sound that is on point with what Pugs describes as "the struggle to become something better; a gentleman." It isn't a shock to know that the group's debut amassed 10,000 downloads, and the near future looks even brighter as The Gent$ are featured guests on DJ Vadim's newest album, U Can't Lurn Imaginashun, released by BBE Records.

Centerstage found the rhythms of The Gent$ too good to resist, and sat down with them to talk about everything from the serendipitous nature of their work to how the Sybaris makes for a wonderful place to shoot a video.

You all have pretty illustrious solo careers. What sparked the collaboration?
Ill Legit: Well as far back as I could remember I always wanted to be a gent [laughs]! Nah, but seriously, I met Pugs when I moved to Chicago and knew he was dope. Me and Wes met a couple years later when I booked his group Dynamic Vibrations to perform, and after the show he asked me to come through and make a track the next day. Fast forward a year or so later, Pugs said all three of us should start a group. The rest is history.

Wes: We were all making moves individually, but in the process, we were collaborating with a lot of other artists within the scene. We had all made songs together and they tended to take on the smooth, sophisticated vibe. One day Pugs said "Let's put this together and get it out there." We'll call it The Gent$ ." And it just fit.

Tell me a little bit about the album. Were Maker and The Opus your first choices as producers?
P: The Opus reached out to Roche in Oakland to remix "Only When I Dream" from his Solos records compilation, and they hit us with the remix and from there we were like, let's work together. We actually just completed a great song for their next album. We reached out to Maker when a beat we used was no longer available and Maker gave us a great dub remix, and that started the relationship.

W: The album came together very naturally. When we were working on it we never really had to think too deeply about our direction because we were already on the same page. As far as production, we linked up with Maker and The Opus kind of by chance. We'd worked with them before but for this project they ended up doing remixes that really did justice to the songs. We didn't even know The Opus was doing the remix until it was done and being played [by The Opus] in the Pritzker Pavilion in Millennium Park. I also did production on several songs, as well as Illy, Limitless, V Traxx, Dario, and DJ ALO and others.

I: Maker and Opus just happened to fall into place. Actually we individually brought beats to the table and pretty much executive produced the album as a group. Maker hooked up a remix and Opus had remixed a song for Wes and Pugs.

Stylistically there are a lot of influences streaming through your music. How do the Gent$ map things out when ready to make music?
I: We stay on a consistent schedule of meeting every week. We sit down and play music for each other and find inspiration. We all pretty much have excellent taste and that makes choosing what we work on easy.

P: We just try to attack subjects as a gentleman would and pick beats that are a backdrop to a gentleman's point of view.

Collectively, what are some things about Chicago that inspire you?
P: The style and architecture of Chicago, the Magnificent Mile and the Playboy office.

W: I think just the culture and style that is abundant in the world-class city of Chicago. The architecture, the sophistication and the composure that Chicagoans have. It's as if we've all been around the block and carry ourselves with dignity and class.

I: Well hate is easy to come by in Chicago and just about anywhere on the earth, but finding love in this city is what motivates us I think. We make music we love and we want our city to love it as well. On top of that we make classics.

You made your debut album available for free download. Do you see this turning into a norm in hip-hop? If so, how do you think it'll change things?
P: Well I think it's now going to really go back to performing and content, video, lifestyle, etc?

W: The way things are going, the physical product now is really just a calling card. However, we are concentrating our efforts on some very solid product that, in my opinion, will sell itself. We are not the types to push our product on the people...the ones who appreciate our music will do what they can to support.

I: I think it's just becoming the norm for independent artists, period. We aren't concerned with album sales at the moment because that's not how we define ourselves. We define ourselves through the music and that's what matters. And that can't be done unless it's heard. Therefore, we gave it out.

You also have some work on Vadim's new project. How did that come about?
P: I went on tour with him in 2007 and we started to record and send songs back and forth. He picked two songs for his new album on BBE, "Saturday" and "Always Lady" featuring Wes, but one day he sent me this beat in the email and it had Gent$ all over it.

I: All I know is the Vadim joint we just did, "League of Extraordinary Gentlemen," is absolutely bananas.

Could you please break down the premise of your video shoot at the Sybaris?
Adam Leaders(manager): I'll take this one? For those who don?t know, the Sybaris is a "romantic getaway" resort. Due to legality issues, all we can say is it involved hours of reconnaissance, models, camera crew, more models, lights, bubbles, a utility van and 100 bottles of Champagne. We were like the A-Team sneaking into that place. Once we were in, we transformed it into THE GENT$ mansion ? water slide, steam room, vibrating chairs and all. Big thanks to Noah Banks, Vimby, Awdazcate, Allison Glenn and everyone who helped make it happen. Just wait till you see it...

New projects for this year?
P: Pugs Atomz Roof Top LP June 16 on So Flo Recordings feat. Sadat X, Naledge, DJ Vadim etc...

W: I'll be releasing a solo EP called Draggin' Music as well as a plethora of other collaborative efforts with other artists that I admire. The Gent$ are hard at work on a new record with production from DJ Vadim, Wes, Illy and more. Also be on the lookout for our ongoing video series. This will be our true launch to the world.

I: I'm extremely proud of my new video "Too Familiar," featuring Wes Restless, directed by Nick Castle. You can google it and fall in love all over again. Working on a solo album entitled The Addiction and constantly working on new Gent$ material. Stay tuned...

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 01 Jun 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/bestbeats-052109.html One Night Love Affair
Thursday, May 21 at Danny's, 10 p.m.; Free
Lono Brazil's Disco Unusual Social Club party can no longer be contained to a once-a-month happening at Danny's, so he's spread his glam-dance disco sounds across town, including recent stints at Simone's Bar in Pilsen and a few appearances at Sonotheque. But tonight he's back at Danny's, bringing the sexy, tasteful disco grooves and getting the holiday weekend started early.

The Prodigy
Saturday, May 23 at Congress Theater, 7 p.m.; $35
A few years ago, when British electronica and rave culture was just making its way to America, it didn't get much bigger than The Prodigy. The group behind hits such as "Firestarter" and "Smack My Bitch Up" and album-loads of klaxon-heavy, high-energy dance music paved the way for the Chemical Brothers and shows like MTV's "Amp. Canada's Tiga co-headlines and locals Brad Owen, Dark Wave Disco, DJ Intel and Derek Specs round out the lineup.

Mike Simonetti
Sunday, May 24 at Smartbar, 10 p.m.; $10
Most of us don't have to work tomorrow, so there are plenty of parties to choose from tonight. But if you're looking to hear damn good dance music on one of the few Sundays you stay up past midnight, head to Smartbar, where long-time New York DJ and co-founder of Italians Do it Better (the home to hot act Glass Candy), Mike Simonetti, headlines. Jerome Derradji and Kool Hersh also spin.

Check out Centerstage Chicago food and drink deals! ]]> Best Beats Thu, 21 May 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/innosphere.html Innosphere is a collaborative project between legendary producer Kenny Keys and soul songstress Nina Rae. Keys and Rae initially met while working together in a local hip-hop band (Just Infinite), and they were instantly able to establish creative ground. The chemistry, too magnetic to ignore, quickly led to a series of projects including what would be the duo's eventual debut single, "Me & You."

The combination of Kenny's instrumentation and Nina's vocals makes for the finest cosmic soul that hip-hop has heard in years, matching predecessors like Erykah Badu and Georgia Anne Muldrow. The duo plans on releasing a seven-song, self-titled EP under the TruSoul Entertainment imprint, and if the single is any indication of things to come, Chicago should be very excited. Centerstage sat down with Keys and Rae to hear how it all came together and what the immediate future holds in store.

Innosphere is an interesting name, what's the significance?
Kenny: The meaning of the name is defined exactly how it's spelled: in-no-sphere. We don't place our music into any particular genre. We will venture into any territory that the music takes us. So, the name represents that ideal: no boundaries, no restraints, no fear, and 100-percent real.

When you go into a song do you have clear intentions or are you on the organic side of things?
K: We talk about stuff, just kick it together, listen to music, beats, just pass ideas back and forth. Then, we get inspired and we work. Sometimes it starts lyrically, sometimes with beats, sometimes from the root up.

Kenny, this project seems to be taking you a bit outside the realm of straightahead hip-hop. Is this marking a new creative movement for you?
K: Nah. This album is not really taking me out of the hip-hop aesthetic. I'm still on the beats; it's just letting me show a little versatility. Like when we did some cuts, it was off beat CDs-hip hop cuts for my fellas to check out. This is one of the most simplistic, beautiful albums I have ever produced. It's a whole new place that I've flirted with, but never fully went there before.

Nina, can you tell me about your background as an artist?
Nina: I'm a writer first. My writing pursuits took me to Gallery 37 as a teen, writing for the New Expression teen newspaper, which was distributed throughout Chicagoland. I began singing in a trio as a teenager after being selected as a vocalist with the Chicago all-city chorus. I went on to perform with various girl groups and perfecting my craft as a writer. I started to infuse my poetry writings into my music and my singing style. I eventually became a member of Just Infinite, where I would eventually meet Kenny. Aside from this musical project, I am also working on a book of short stories.

Tell me a bit about the EP.
N: It's a very real EP. It's a journey through happiness and sadness, but centered around curiosity. Every song has a sense of exploration. It's a relatable piece of work that touches on the human experience, moral issues, being true to one's self, dimensions of love, urban street life, family and intimacy.

Are you going to have a tour for the album?
K: We are currently working on show dates. Who's booking? Listen to us at sonicbids.com/innosphere and check us out.

When can we expect the full length and what other projects do you have in store for 2009?
K: Look out for the full length Innosphere album this fall. I'm going to be dropping an instrumental album this summer, and working on a project with another dynamic Chicago producer, Tall Black Guy. Look for some music from the producing duo, Black Keys (Tall Black Guy & Kenny keys) later this year. Nina Rae will be a huge part of that as well.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 18 May 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/bestbeats-051109.html Prince Paul
Friday, May 15 at Zentra, 9 p.m.; Free before 11 with RSVP to rsvp@hiphop2000.com, $5 before midnight and $10 after
Hip-hop and club fans have been buzzing about this event for a few weeks. Legendary producer Prince Paul, the man behind De La Soul's 3 Feet High and Rising and a member of hip-hop act Handsome Boy Modeling School with Dan the Automator (he also co-hosted VH1's "The Next White Rapper") comes to Zentra tonight for a special DJ set. DJ Intel also spins and celebrates his birthday.

Jackson
Friday, May 15 at Sonotheque, 9 p.m.; $10 with RSVP to Going.com or $12
Meiotic's monthly party at Sonotheque hosts a special disco edition with guest DJ/Producer Morgan Geist; Disco Unusual Social Club's Lono Brazil and local nu-disco rising star Samone SR71 Roberts.

Dirty Funk Fridays
Friday, May 15 at Town Hall Pub, 9 p.m.; Free
What Town Hall Pub lacks in glitz and glamour (and trust us, it has none), it makes up for with solid DJs and cheap drinks. Every third Friday, DJ RC, Ryan Gac and Nick Ten Eyck spin funk, soul, latin jazz and hip-hop at the dirtiest dive bar in Boystown as the Funk and Soul Revue.

The Boom Box
Saturday, May 16 at Sonotheque, 9 p.m.; $5 before midnight, $10 after
With respected labels Meiotic and Kompute taking over the programming Friday and Saturday night, Sonotheque is the place to be this weekend. Tonight, Kompute brings in groundbreaking house DJ Scott "Smokin" Silz from the legendary V103 Hot Mix 5 DJs. Silz has influenced dance-music acts all across the globe, including Daft Punk. He's currently working on new projects for Kompute while also holding down a job as Clear Channel's director of production and imaging for two of Chicago's top radio stations. He's joined by Rayalin3 and an assortment of Kompute DJs for an old-school-meets-new dance party like no other.

The Glamorous Life
Saturday, May 16 at Crocodile, 10 p.m.; Free
We know you've been splurging on weeknight al fresco dining, new summer gear and pedicures, so give your wallet a break and hit up the popular Glamorous Life '90s party at Crocodile. Tonight, Trew, Pickel and Maker spin all your favorite dance hits from the '90s (think New Jack Swing, Kid 'n' Play and Janet Jackson) and with every $5 you spend on beer you get a free mini margherita pizza.

Check out Centerstage Chicago food and drink deals! ]]> Best Beats Tue, 12 May 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/bestbeats-050409.html Glass Candy
Thursday, May 7 at darkroom, 9 p.m.; $10 before 11 p.m. with RSVP to rsvp@outoforderchicago.com
If Blondie made sexy, smart, modern dance music, you'd have Glass Candy, this month's guest for Out of Order Chicago. Featuring soft, sexy female vocals (see "Beatific" and the remake of Kraftwerk's "Computer Love") over energized, layered beats, their songs are as suitable for the morning commute and gym as they are for the club. We couldn't be more excited for this live performance. DJs Total M, Trancid and Intel spin.

Trevor Loveys
Friday, May 8 at Smartbar, 10 p.m.; $10 or free before 11 p.m.
UK-based house and fidget DJ Trevor Loveys makes his first Chicago appearance tonight at Smartbar. Loveys is poised to take over club dance floors this summer with his choppy and bouncy signature sound. Switch fans won't be disappointed. The Darkwave Disco DJs and DJ Toymaster also spin.

PartyTime
Saturday, May 9 at Sonotheque, 9 p.m.; $5
Prescription for an affordable Saturday night: beers, deep house and rare disco provided by Joe Bryl and Josh Deep at Sonotheque. 'Nuff said.

Crème de la Crème
Saturday, May 9 at Lava Lounge, 10 p.m.; $5 after 11 p.m.
Lava's weekly hip-hop party is back, but this time, Metrognome, Rude1, Word and Izzo take over as musical selectors. RSVP to Chicago@dudfrequency.com for discounted admission.

Check out Centerstage Chicago food and drink deals! ]]> Best Beats Wed, 06 May 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/spq-her.html Born out of the rich musical backdrop known as Chicago's South Side, Spq-Her (pronounced Speak Her) has emerged as a powerful voice in Chicago hip-hop. Consisting of WiZdom and Stephstaa, Spq-Her has fused together R&B, soul, jazz, funk and hip-hop into a melting pot of rhythms worthy of the golden-era comparisons. But for as much as the duo have extracted from past inspirations, the two soul divas have made a name for themselves by seamlessly navigating the progressive movement of the local underground hip-hop scene.

Spq-Her's debut album, Defenderz, is a cosmic journey through self-expression, narrated with an elevated lyrical consciousness reminiscent of Erykah Badu and Lauryn Hill. The album's lyrical content is matched equally by local beat aficionados Fifth Element, Rashid Hadee, Raw Power, Frankie Blaze and Kenny Keys-making the journey abstract in sound but organic in nature. Last year their hard work paid off as they won the BomBay Sapphire Soul Search sponsored by 106.3 FM, and most recently URB recognized them as emerging artists in its "Next 1000" list. 2009 looks to be even more productive as they plan on touring to support their new album, which they describe as a "Bruce Leroy Green and Sho'nuff fight." Centerstage caught up with WiZdom and Stephstaa to talk about the new album, and how life brought them to this point.

Where were you ladies born, and how did your community contribute to your musical tastes?
WiZdom: I was born and raised on Chicago's South Side. It's interesting, when we travel people always make assumptions about the South Side; they are connecting with something they saw on TV or heard on the news. My family was a musical family and my cousins and I would prepare routines to perform at granny's house because we knew someone would get on the piano or start singing, especially after sharing the endless stories of previous holidays. That family community contributes to my musical taste because my family embraced talent and provided a space for my first sold-out concert.

StephStaa: Born and raised on the South Side of Chicago as well. Being born without a silver spoon in mouth made me walk through life with so much appreciation. The community I was raised in didn't have much; as a child I lived in a large apartment complex called Gemino Milgate. And we had block parties during every summer; I performed one year at the age of 8 or 9 and I remember saying to myself, "I'm gonna be a big star one day". I have been on that power kick ever since. My mother played soulful music all the time. When I used to go outside and play, kids would be breakdancing/pop-locking and I would mimic a Lisa Lisa Cult Jam song! Music is my life!

What's your musical background, as far as formal training goes?
WiZdom: Not to be stereotypical, but my first training was in the church. The man that forced me to own my soprano voice was Mr. Brian Johnson. However, it wasn't until I went to college that I had an opportunity to work with some phenomenal artists. During this time, the most impactful experience was singing in a choir for BeBe Winans in Atlanta under the direction of Gary Hines (Sounds of Blackness). More recently, when Spq-Her won the Soul Searching Contest, we had the opportunity to work with the world-renowned Lyndia Johnson, Vocal Coach and CEO of Sterling Voice Coaching.

StephStaa: I never had training. My sister Rena had a radio with a tape deck and she would record songs from the radio. We would all play around with the radio and discovered we could record our voices, so I would record me singing a song off the radio. My siblings told me I sounded like people on the radio. After that I kept practicing without the radio and singing in my apartment hallway to test my range with an echo effect. Like WiZdom mentioned, we won Soul 106.3 FM's contest October 2008, one of our prizes was vocal lessons with Lyndia Johnson, who I highly recommend to any vocalist. Knowledge is power indeed!

When and how did you meet?
WiZdom: We met numerous times in our past, but we didn't officially become friends until December '04. We were at the Hothouse and connected via artistry and mutual friends. It's been friendship, godmotherhood, and business ever since.

StephStaa: Yeah, The Most High has been trying to cross our paths for a while! It all came full circle 12.31.2004! We been planning the "take over" ever since! And what is so dope and different about us is that we're best friends!

So was Sqp-Her an official name right off the bat or did you ladies go through an evolution to get to where you're at now?
WiZdom: Of course we did! We have truly experienced a beautiful struggle. I can remember when we first started to work together and we were writing like our lives depended on it. Sunil Honeycutt believed in us so much that he invested in our limitless recordings at so and so's studio. We would record to wee hours in the morning only to turn around and perform in back-to-back shows. We are grateful for those experiences, but we knew that we needed to experience more. Then we got addicted to the MySpace hype and opportunities started flying in from Canada, London, Brazil, Los Angeles, New York and Atlanta. We learned that if we invested in ourselves, folks would appreciate our hustle and listen to our music and connect with it.

StephStaa: We use to come up with all kinds of names for ourselves before Spq-Her, because as soon as we started sistership, we started doing shows. Keep in mind we were both active on the solo tip, so shows would pop up and we would support each other; people adored us and wanted to know our name. WiZdom discovered Spq-Her; it became permanent like naming a baby!

Tell me a little bit about the album. I know you worked with an amazing cast of producers.
WiZdom: Yes, yes y'all and it don't stop, Spq-Her will never ever stop. Our album is hip-hop soul. Now, don't get it twisted...when we say hip-hop, we mean the true culture and the elements of hip-hop. I actually was hazed into hip-hop by my partner in grind, Stephstaa and the Alien8ighted Crew, and I loved the drums and samples from songs that I was raised on. We worked with Kenny Keys, Fifth Element, Rashid Hadee, Raw Power, and Frankie Blaze. Recording this album felt like a little girl learning how to jump double dutch. Trying to get into the rope and making all types of moves once we got in and doing things differently to our own rhythm.

StephStaa: Indeed, the producers WiZdom mentioned are super hot and so underrated. We bring soulful/hip-hop flavor but our style is limitless! I love it when we vibe with live instrumentation! Expect to hear various sound and melodies from SPQ-Her!

Your music has so much Chicago Soul to it. What are some things about Chicago that inspire you? And I'm not necessarily talking about positive things either.
WiZdom: Our love for Chicago is unconditional. It can hurt you, love you, and forget about you...but you still love it no matter what. Real talk, our city is the birthplace to many famous and non-famous musical geniuses. However, Chicago artists don't have that type of camaraderie that other cities have. When we learn how to appreciate each other, then we will be appreciated.

StephStaa: I totally agree with WiZdom...word up!

You've been getting some nice pub thrown your way, URB Next 1000 for example. What's the contrast been like when you step outside of Chicago?
WiZdom: It's funny that you ask this question because our experiences outside of Chicago have been nothing but a birthing. We can go to cities where the audiences are singing our songs verbatim. Folks are like, "where y'all been?!?" That's real and refreshing!

StephStaa: That pub has been a true blessing, it's all about grinding continuously and networking! You can't get anywhere in life if you don't do something you never done before! For radio and publication to notice us is such a relief, it means our hard work is not in vain. We have done the regional/national tour thing out of our own pockets, sleeping on a friends couch/floor and in motels. Then to show up at a venue to perform and folks appreciate and love us, it's so rewarding!

Your music has a strong sense of female empowerment. What's your reaction to the negative portrayal of women in hip-hop today?
WiZdom: Any type of negative portrayal of women is detrimental to young ladies. Females that allow individuals to degrade them are just as responsible to the negative images in music. We have to be accountable for ourselves.

StephStaa: My reaction is that we still have a lot of work to do as women, those in the music business and those who are on the verge to enter it. If we lead instead of follow that issue will be abolished. That's why it's so important that Spq-Her take over the music industry, we're more than the melodies we convey!

You seem to be taking it a bit easy as far as touring goes, is this in preparation for a new project? WiZdom: The new project is like the Bruce Leroy Green and Sho'nuff fight. Like this fight, we have discovered our strength. We have received some good feedback about the essence of Spq-Her and we are discovering some new things about our voice, our style and our sound. Also, our experience with Ms. Lyndia Johnson taught us so much about our vocal instrument and we want to be intentional about using our voice properly so the sound is timeless.

StephStaa: Next time we tour it will be on an international level! We've been writing and conceptualizing our second LP, scouting indie/major labels and connecting with DJs all over the globe! So yes, expect the unexpected from Spq-Her.

What else can we expect from Spq-Her?
WiZdom: Spq-Her has their hands in everything: music, fashion, education, politics. We are currently planning to invade the overseas market and deliver our music to those that have been waiting patiently. We will continue to tour throughout the summer and make some radio appearances. Right now, we are working on finishing our sophomore album.

StephStaa: ALL POSITIVE THANGZ! ALL SUCCESSFUL THANGZ! Continue to connect with us on: MySpace, Facebook, Twitter and SonicBids.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Mon, 04 May 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/bestbeats-042709.html Peanut Butter Wolf presides over a special Stones Throw party at Abbey Pub. Stussy X Stones Throw Tour
Thursday, April 30 at Abbey Pub; $16 in advance, $18 at the door
Stussy sponsors the latest Stones Throw tour, which features Peanut Butter Wolf, James Pants, Dam-Funk and Mayer Hawthorne. Chicago hip-hop fans have been lucky enough to have the Stones Throw crew come to town pretty regularly as part of the Sonotheque Move events, but this tour is quite different and it's 18-plus. Peanut Butter Wolf is doing live video and DJ mixing; James Pants is playing a live set with his band, the Royal Zodiac, and Mayer Hawthorne and Dam-Funk will be playing eclectic records. To top it off, Stussy created limited-edition t-shirts and Stones Throw is coming out with music only sold on the tour. Visit Stussy.com to download an exclusive tour mix.

Red Kiva 2-Year Anniversary Party
Thursday, April 30 at Red Kiva, 6 p.m.; $10 cover benefits T-PAN
With its yummy flatbread pizzas, hip West Loop locale and unique sunken-pit design (it formerly housed drum circles), we're not surprised Red Kiva has made it to its second birthday. The party gets started early at 6 p.m. with complimentary appetizers and a slew of drink specials, including $5 Absolut cocktails and giveaways. Music is provided by resident DJs Uncle El and Pickel, of the new Tronic weekly party, along with live performances by Radius and Kenny Keys and live art by CZR PRZ. Better yet, tonight?s anniversary party benefits T-PAN, the Test Positive Aware Network, which works for HIV awareness and advocacy.

Dialogue, Inc
Saturday, May 2 at The Burlington, 9 p.m.; Free
Joshua Ferguson, the Chicago writer for dance and culture blog, Dialogue, Inc., curates a night of dance music at the Burlington. We're not sure what he'll be pulling out of his hat, but as he was recently appointed Nightlife editor of Time Out Chicago, he probably knows a thing or two about what gets crowds moving.

Check out Centerstage Chicago food and drink deals! ]]> Best Beats Tue, 28 Apr 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/hiphopclubs.html If you're looking to see blues, jazz or rock in Chicago, you'll find no shortage of clubs catering to your needs. But while the city is home to many hip-hop artists of all styles, it's not immediately clear where you should go to hear the stuff. These spots might not call themselves "hip-hop clubs," but they're your best bets for catching the best local and national acts.

Abbey Pub
Over the past few years, this Northwest Side venue has evolved from a rock-heavy spot to a haven for hip-hoppers. The transition wasn't easy; a few scene-related skirmishes had the owners considering banning the genre altogether, but the robust local market must've changed their minds. You'll find some of the underground's brightest stars commanding the small stage here nearly every week; past performers have included Murs, Brother Ali, Heiruspecs, MF Doom, Madlib and RJD2 (the club has also hosted the city-wide Chicago Rocks showcase).
View upcoming shows at Abbey Pub

Subterranean
If you want to get up close and personal with an MC, this is the place to do it. Fans pack this second-floor club for intimate performances by locals like Earatik Statik and Astonish as well as national acts like Blu and J-Live. If you don't feel like bumping shoulders with the sweaty crowd, you can also get a cool bird's-eye view from the third-floor balcony. You may just end up watching the opening act while standing next to the headliner. Downstairs in the lounge, you'll find several regular hip-hop nights, including The Cold Sweat (featuring the Comeups - DJs Intel, Maker and Pickel - and DJ Trew) on the first three Fridays of each month.
View upcoming shows at Subterranean

Reggie's Rock Club
Don't be fooled by the name; since installing itself on the near-South Side, this club has garnered some major cred from local hip-hop fans by providing a platform for Chicago artists (especially those on the Galapagos4 roster, like Qwel and Robust). The sloping floor might not be the best for breakdancing, but there's plenty of it anyway, so hold onto your Old Style tallboy. Good news, young'uns: most shows here are all ages or 17-plus.
View all upcoming shows at Reggie's Rock Club

House of Blues
If your favorite hip-hop act is too popular for small clubs, but can't quite sell out a stadium, this is the most likely landing spot. Common, Wu-Tang Clan, Cypress Hill and even Lil' Wayne have had memorable sets in the velvet-swathed space in recent years. The tickets are expensive, as are the drinks, and the doormen can be pretty strict (no cameras!), but in general you'll see a good show here.
View all upcoming shows at House of Blues

Morseland
When North Side hip-hop fans want a good meal and some good beats in the middle of the week, they head to this Rogers Park venue. The Wednesday-night series, Heartbeats, presented by local DJ Lokua, offers a different set of MCs, DJs and musicians each week (e.g. 1773, Radius). If that's not enough for you, come back for Dirty Thursdays, when DJs Serpico, Teebot and Kana Me spin hip-hop, funk and reggae (and sometimes present live acts like Treologic). Oh, and that "good meal" part? Morseland is known for its Southern Creole cooking, with tasty dishes like jerk pork chops and barbecued catfish.
View all upcoming shows at Morseland

Want it on wax? Our favorite spots to catch DJ'd hip-hop:
Lava Lounge
Funky Buddha Lounge
Sonotheque


Check out Centerstage Chicago food and drink deals! ]]> Wed, 22 Apr 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/djpickel.html Inspired early on by rap's golden era, DJ Pickel was determined to make a name for himself behind the decks. As a budding DJ he would attend events with a family member, who was also a DJ, and diligently take notes on how to properly hold down a set. Eventually he got his own tables and his career's been evolving steadily ever since.

Pickel is currently a member of the Come-Ups crew (along with DJs Intel and Maker) and the Analog Addicts, and has been a staple in numerous hotspots around town like Lava Lounge, Rodan, Subterranean and Swig. Pickel's skills have earned him sets alongside some of the finest DJs in the world including Kid Cut Up, Nu Mark and Pase Rock. Centerstage recently sat down with DJ Pickle to talk about Chicago's nightlife and records.

When and how did you first get interested in DJing?
In 1991-'92. I was really into watching DJs on rap videos and I wanted to learn how to do that. A friend of the family who was a DJ offered to take me along to gigs and show me the ropes. I got some practice time in, and I learned a lot about the craft. I eventually bought my first set of tables in 8th grade. I actually got them from DJ Devastation from 2 Young Brothers. They were kind of famous in our neighborhood for the song "Check Out the Hook" (DJ International Records). My mom was Joey's [Devastation] teacher in 7th and 8th grade. So he looked out when I was looking for tables.

What was your first record?
Its hard to say, but I think it was either Urban Dance Squad, "Deeper Shade of Soul," or 2 Live Crew, "Banned in the USA."

Do you remember the first major event you spun at?
Yes, I opened for Tone Loc at the Copper Dragon in Carbondale, Illinois. This was in '97 with my good homie DJ Crucial. I called Crucial at his dorm and we walked over to the venue and offered our services. At this point, Crucial was well-experienced as a show DJ. Me, not so much. I actually put all my records in order in the crate as they would be mixed. Those were the only records I brought with me. So I was limited, but Crucial got on and killed it. Dude was all dropping records hella fast and keeping the crowd totally in his control. He has been a big influence on me since.

Who are some of your favorite artists now?
I'm really feeling what Stones Throw does, Black Spade is on it too, and my dude Pugs [Atomz]. But I'm really more of a DJ fan, I'm really into remixes...The Comeups, Trew, No Requests, Kool Hersh, Mike 2600, The Oakland Faders, Scott Matelic, The Fingerbangerz, Crucial, Mahf, Ztrip, Troublemaker, Tate La Rock, Steinski, B Cause and Doc Delay.

Being in the heart of Chicago nightlife, what's the craziest experience you've ever been a part of?
I don't really get too hype on shit, I'd have to say that the whole thing itself is crazy. Nothing shocks me anymore.

As a DJ however, I'd have to say that the idea of someone requesting music at the spot shocks me. The very idea that someone is so self-centered that they will get all up in your shit to tell a stranger how to do a job they are incapable of doing themselves is a sad statement on humanity. It doesn't matter if the request is a good one or not, it's the principle. No requests asshole. We are not jukeboxes and we are not your iPod.

What are your favorite venues to spin at?
Lava's always great. Nice spot with banging sounds and a true dedication to the DJ. Swig has a great vibe and surprisingly great sound for its size. You would be surprised how many spots can't get that shit right. The Comeups and DJ Trew do Cold Sweat at Subterranean on the first three Fridays. It's more golden-era hip-hop based, that's pretty much the basis of my DJing so I'm feeling it. Rodan is a good time too, we get into some good sets there. It's not really a chotch-y spot at all, gotta love that. Lastly, Crocodile. It's got that basement house-party vibe, and people get down there.

I saw you spin an amazing J Dilla tribute set. How has Dilla's legacy changed hip-hop and who do you see taking over where Dilla had left off?
I have to be careful with the first part of that question. Jay Dee touched so many people and had a huge impact on hip-hop, I don't want to offend his legacy or his fans. That being said, I think he knew records like no other beatsmith, and his beats show it. If you combine those serious digs with Dilla's sample approach and originality, then you add his experience, you get a legend. Thus a legacy.

I really don't see anyone taking over where Dilla left off. His influence will live forever. Either cats will get it, or they won't.

So I was wondering if you could give me a record rundown of your top 5 albums.
1. Beastie Boys, Check Your Head, 1992. Capitol.
2. Eric B & Rakim, Paid In Full, 1987. 4th and Broadway.
3. Nas, Illmatic, 1994. Columbia.
4. De La Soul, Stakes Is High, 1996. Tommy Boy.
5. Pharcyde, Labcabincalifornia, 1995, Delicious Vinyl.

Check out Centerstage Chicago food and drink deals! ]]> Interviews Tue, 21 Apr 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/bestbeats-042009.html Flosstradamus 4.20
Monday, April 20 at Abbey Pub, 10 p.m.; $6
There are a lot of parties celebrating this special counterculture day (and on a Monday, no less), but we think this is the best bet. Not only is it cheap, you'll also have plenty of room to dance to the sounds of Floss, Willy Joy, Ghetto Division and special guests. You can also just enjoy the vids by Thunderhorse, the same crew that put together this video flyer. Just make sure you "prepare" yourself before you get there.

HeartsRevolution will keep you moving on Friday.

Dance Syndrome
Saturday, April 25 at Butterfly Social Club, 9 p.m.; Free
Resident DJs Christian Vera and Cazwell James of Soulphonetics are joined by guest David Chavez for Dance Syndrome at Butterfly Social Club. Happening the last Saturday of every month, this Latin-influenced party features the best in samba, Latin jazz and baile funk. Butterfly's still constantly changing and last time we were there, we were a bit disappointed that the raw/nonalcoholic cocktail list has whittled down to two offerings, but the place has still steadily drawn a big crowd of clubbers looking to party.

Living La Vida Verde (Green Party)
Saturday, April 25 at Avila, 6 p.m.
The Green Heart Shop is a unique, fair-trade, non-profit organization located downtown that will not only charm you with its cute, fair-trade wares, but will also make you think a little harder about where your other purchases are coming from. But being a green and conscious consumer isn't all work and no play, so tonight, Green Heart Shop is hosting an all-day Earth Day blowout. The festivities start in the morning with a volunteer cleaning of Ohio Street beach, then it's to the store for helpful workshops, free samples and shopping. The event concludes at nearby club Avila (formerly 720) for an evening of world grooves from DJ C-Db, organic and fair trade wine and cocktails and mingling with other local greenies. Can you think of a better way to celebrate Earth Day?

Check out Centerstage Chicago food and drink deals! ]]> Best Beats Mon, 20 Apr 2009 12:00:00 CST http://CenterstageChicago.com/music/articles/bestbluesclubs.html Looking for blues on the North Side? Let Tony Mangiullo show you the way. You can't spend more than a few days in Chicago without hearing about its longstanding blues legacy. But just because the history is there, it doesn't mean that every venue will fit your needs when you're craving some weepin' and wailin'. Study this list of our favorite Chicago blues clubs before hitting the town.

Best for Foodies

Runners-up: Kingston Mines, Smoke Daddy

Best for Serious Fans (North Side)

Runner-up: B.L.U.E.S.

Best for Serious Fans (South Side)

Runner-up: Lee's Unleaded Blues

Best for Casual Fans

Runners-up: B.L.U.E.S., Kingston Mines, Checkerboard Lounge, Underground Wonder Bar

Best for Dancing

Runner-up: East of the Ryan (steppers only!)

Check out Centerstage Chicago food and drink deals! ]]> Music Guides Fri, 17 Apr 2009 12:00:00 CST