the total scene

The Fabulous Miss Wendy storming across the country with guitar in hand

2013-05-16T21:07:00.001-05:00

By ERIC SCHELKOPF

She has opened for Slash and been called a 21st century Joan Jett.

In fiery fashion, The Fabulous Miss Wendy is proving that a female can wield the guitar with as much power as a man. She recently played in Chicago as part of the national Femme Fest 2013 tour.

I had the chance to talk to Wendy, www.thefabulousmisswendy.com, about her current activities.

Q - How has the tour been going?

It has been going absolutely wonderfully. We have been well-received at every single city we have gone to.

Q - Why do you like being part of a festival like this?

I love Femme Fest because it is all about girl power, and the fact that rock 'n' roll isn't a man's world any more.

Q - Do you still find yourself fighting for credibility?

Whenever I tell someone I play guitar and I shred on it, they look at me like I'm from the planet Mars.

It is difficult as a girl to get credibility, because I think a lot of people tend to write off girls as guitar players just right off the bat.

It's the great thing for me, but it is also kind of like my Achilles heel at the same time. It's a mixed bag, and I don't feel like a female guitar player, I feel like a human guitar player.

Q - So it's a novelty?

It kind of is in a way, but I don't think it should be. And in the future, I don't think it will be. The evidence in that is that there are more little girls picking up guitars than little boys.

Q - Because you yourself picked up the guitar at age 10. What attracted you to the guitar?

My older brother very much got me into rock 'n' roll music. He actually tried to teach me how to play when I was 5, but I was just so little, my hands couldn't even get around the guitar.

He played a lot of music for me that I wouldn't have necessarily heard otherwise, like grunge music and punk music, and all kinds of stuff. And he played guitar, and I just wanted to be like my big brother.

Q - And now you have this new album, "No One Can Stop Me!" that is going to be released nationally in July. You raised more than $5,000 through Kickstarter to help fund the record. Was that easy to do?

By the time it was all said and done, it was about $14,000 to make the record. Kickstarter is very, very common these days.

The reason I did Kickstarter was because a lot of people were telling me, "Wendy, you should do Kickstarter." And so I finally decided to listen to everybody's advice.

It's so wonderful. It's kind of bringing the world closer to unity, because it's encouraging cooperative efforts and entrepreneurial endeavours.

I ended up writing a lot of songs for people who gave $100.

Q - Kim Fowley, who managed the group The Runaways in the 1970s, produced the album. What did he bring to the table?

I was so happy to be working with Kim, and I also felt validated that I really did make the best record that I could. I tried so hard to make a good record, and it just felt great that somebody like Kim Fowley thought it was good.

Q - I guess he also called you a 21st century Joan Jett.

Sometimes he also calls me Joan Jett's daughter. It makes me feel great. I just have so much love and respect for Kim.

Q - Do you consider The Runaways or Joan Jett to be inspirations?

I do. They are the originators of girl rock. Nobody really came before them, to speak of. I think Joan Jett is still the queen of female rock 'n' roll.

Q - What did you learn from the experience of opening for Slash?

I learned so much. Slash is such a nice guy.

I remember the first night that I played with Slash, there was probably about 4,000 people in the audience. I dedicated the song "Crazy F..... Up B...." to all the ladies in the audience, and I heard 2,000 girls scream.
And that's when it just me that I was playing in front of 4,000 people.

Q - Did you feel that you had made it?

I felt that I was definitely on the right track. I feel like success is a lifetime process. I don't feel like success is just something that happens one day, or it doesn't.

I think that in order to be successful, you really have to apply yourself as a career artist for your entire life.

You just have to be dedicated, and keep going.

Pioneering band Chrome to perform rare show in Chicago

2013-05-11T11:34:00.001-05:00

Photo by Angie Skulls

By ERIC SCHELKOPF

Long before there was Sonic Youth or Nine Inch Nails, there was San Francisco experimental band Chrome.

Chrome will perform a rare show May 18 at the Empty Bottle, 1035 N. Western Ave., Chicago, as part of the HoZac Blackout Fest. More information is at www.emptybottle.com.

I had the chance to talk to Chrome guitarist Helios Creed, www.helioscreed.com, about the show and Creed's upcoming album of unreleased material, "Half Machine from the Sun, the Lost Chrome Tracks from '79 to '80."

Q - Great to be able to talk to you. Will you be performing any of your unreleased tracks at the May 18 Chicago show? What should people expect from the show?

Hi. Yeah, we are performing some of the Lost Chrome Tracks, which are something like 35 years old, but haven’t been released yet. And we are performing our new single, " Prophecy," from our upcoming album of 2012 and 2013 material.

"Prophecy" is on our www.Pledgemusic.com/chrome site for pledgers if you want to hear it. Expect a great show, what else!

Q - I understand the "Lost Chrome Tracks" were actually lost. When you heard them again, what were your thoughts? Do you regret not using the material on "Half Machine Lip Moves" and "Red Exposure?"

When I heard them, my thoughts were about how good the songs were and wondering why we didn’t release them.

It took a while to remember all the head trips of why. Yeah sometimes I regret it, but if I did they wouldn’t be able to be released now, so there wouldn’t be anything new from that era to hear now years later.

It's interesting to release all this time later, we’ll see what happens.

Q - In forming Chrome, what were your goals? Did you think you were pioneers at the time?

No, not really, we were trying to make cool music.

Q - Chrome is credited for influencing a number of bands, including Sonic Youth, Nine Inch Nails, Ministry and others. Do you see that as a compliment that so many bands would credit you for influencing them? What do you think about what those bands have created?

If they’ve credited Chrome, that's kind of cool, it's cool to inspire artists to find a new sound of their own, everyone feeds off everyone. I don’t find them very Chromish, though.

Q - After Damon Edge passed away in 1997, you continued with the band. What made you want to continue Chrome?

Because he didn’t do any live shows and I thought people deserved good live shows after supporting the band all these years.

Q - "Angel of the Clouds" was re-released this year. Do you see the album gaining new fans with its re-release?

Hopefully, it did really good in Germany I hope it does really good here.

Q - The music business has changed drastically since you first started. Do you think it's easier or harder to be a musician these days? What advice would you give to an up-and-coming guitarist?

Get a job.

Q - Are there any musicians today that you admire what they are doing? What do you think of the music scene in general these days?

I think its a good music scene, there is a lot of good music out there and a lot of good musicians to go see and support, there will always be that, support your local good bands.

Q - After the album is released in June, what's next for you and Chrome? Do you have any dream projects or collaborations?

After the release "Half Machine from the Sun the Lost Tracks from ‘79-80," we will finish our album of new material that is almost done also. Then more live shows, and hopefully a world tour.

Chicago band JC Brooks and The Uptown Sound explores new musical ground on upcoming CD

2013-05-09T07:52:00.001-05:00

Photo by Clayton Hauck

By ERIC SCHELKOPF

On its upcoming CD, "Howl," Chicago indie soul band JC Brooks and The Uptown Sound turns personal.

The album, its second for Chicago-based Bloodshot Records and third overall, is darker both musically and lyrically than its previous efforts. But that's just another step in the evolution of the band, which had gained attention for its inventive take on Wilco's "I Am Trying To Break Your Heart," which JC Brooks and The Uptown Sound performed with Jeff Tweedy in 2011 at Wilco's Solid Sound Festival.

"Howl" will be released on May 21, and the band, www.jcbrooksandtheuptownsound, will celebrate its release by performing May 25 at Mayne Stage, 1328 W. Morse Ave., Chicago. The show starts at 9 p.m., and tickets are $28, available at www.ticketweb.com.

I had the chance to talk to JC Brooks about the new album.

Q - Great talking to you again. You guys just got back from playing in France. How are audiences over there different from those in the states? Have you been able to build a good fan base over there?

Thanks man, right back at ya. Over there it feels like shows are based more on emotion because the language barrier keeps me from using too much banter.

They appreciate that we've come so far to play for them, and we're excited to be there so it creates this feedback loop of good energy that makes for great shows. This was just our first trip to France, but I feel like we made a bunch of new fans and laid a good foundation for a return trip.

Q - Of course, the band's new album comes out this month. It seems like "Howl" is darker musically and lyrically than your last album, "Want More." In sitting down to make "Howl," what were your goals and do you think you achieved them?

We wanted to make something a lot more personal that speaks to people who feel like they're alone or yearning. I just wrote from the heart - we all did, and I'm very excited about the result.

Q - I understand "Howl" is a song about young love. What are the major themes on the album?

Isolation, despair, loneliness, heartbreak...sounds like a total downer, but we tried to find a way to delve into these ideas without being all 'woe is me' about it.

Q - How did the "Rouse Yourself" campaign go? I understand celebrity guests will be featured in the video. Can you tell me about the concept for the video?

As of right now, it's still going on. Billy has a friend out in L.A. who was willing to help us out because he likes the band but he's a busy guy with a tight schedule so we had to get out out there and shoot some stuff before he was unavailable. I don't want to say too much but it has hints of Scorsese's "The King Of Comedy."

Q - Howard Bilerman, who has worked with such bands as Arcade Fire and Godspeed You! Black Emperor, produced "Howl." How did you hook up with him and what do you think he brought to the table?

We came to work with Howard because we were looking for a producer who would be able to help us flesh out the new sound that we're working with.

After putting out lines to a couple of different guys, Howard seemed like he really understood what we were trying to do. We're working with different themes and new sounds -stylistically and with instrumentation (i.e., synths as opposed to Hammond, etc) but we didn't want to lose the rawness that was sort of the essence of our previous records.

Howard understood that and work with us in a really relaxed way. Based on our demos he had ideas coming into the process, but he did more gentle guiding than being dictatorial about it.

We rewrote stuff that was fun but didn't quite work, and he helped us find a common thread that brought all of the different sounds together.

Q - Who are your biggest musical inspirations and how do you think they play a part in your music?

As far as song writing it changes day to day because I feel like I'm constantly immersed in awesome music. For performance, its a lot of lady musicians - Beyoncé, Janelle Monáe, Patti LaBelle, Tina Turner.

They're all highly emotive, energetic performers who leave it all on the stage. I can't imagine someone going to one of their shows and not feeling like they got their money's worth.

Q - I know that you don't like the term neo soul in describing the band, but there seems to be continued interest in soul music, both on a local and national level. Why do you think soul music has such a long shelf life?

Hey, "neo-soul" is better than "soul-revivalist", lol. I think that soul music continues to be popular in one form or another because it tends to come from a genuine place, which a lot of music does, but it also usually has a very pleasing groove, so the music pulls you in and you identify with the content at the same time.

It's also a genre associated with expressing strong ideas in tumultuous times

Q - This is your second record for Chicago-based Bloodshot Records. Being a Chicago band, is it extra special to be on a Chicago record label?

Absolutely! We live in a great city with an awesome musical heritage, and I'm glad to keep it all in the family - so to speak.

Q - Do you think you guys grew your fan base after playing at last year's Lollapalooza's festival in Chicago? Was that a privilege, knowing you were playing at a prestigious festival right in your backyard?

I know that we got in front of a lot of people who had never heard of us before, so in that respect, yes. It was super cool to be able to play Lollapalooza because there were a ton of incredible acts on the bill, and it's flattering to be included in their number - plus it was nice to only have to drive 15 minutes to load in.

Q - It frustrated me that radio stations like WXRT continued to only play your Wilco cover, "I Am Trying To Break Your Heart" even though you had a new album out, "Want More." Do you find it frustrating when radio stations overlook your current songs and don't give them a chance?

A little, but it's also a thrill to hear your work getting played on the radio. As much as I wished that any station would explore the album beyond that single, you have to trust that the programming directors know what they're doing. XRT's been super supportive of us, and we get a lot of great feedback from their DJs.

Q - How do you think the band has grown since it formed in 2007? Where do you see the band going from here?

I think that our sound has coalesced into something that is more uniquely us as opposed to a somewhat angular mix of our influences.

I honestly don't know where we're going to go from here, if you asked me a year ago what the next record with sound like I might have had some ideas but I also probably wouldn't have described what "Howl" turned out to be.

It's totally a growth process - you never know where inspiration or influence is going to come from, and believe me, I'm really shitty at predicting the future :)

Indie roots band The Pines bringing darkly uplifting music to Chicago

2013-05-03T19:02:00.002-05:00

By ERIC SCHELKOPF

On its latest album, "Dark So Gold," Minneapolis-based indie roots band The Pines presents songs that are darkly atmospheric but uplifting.

Comprised of Iowa natives David Huckfelt and Benson Ramsey, The Pines, www.thepinesmusic.com, will perform May 18 at Schubas, 3159 N. Southport Ave., Chicago. The show starts at 9 p.m., and tickets are $18, available at www.schubas.com.

I had the chance to talk to Ramsey about the band's current activities, which include making a new album.

Q - Great to talk to you again. Of course, you guys are touring in support of your latest album, "Dark So Gold." I understand that you came up with the album's title before you even wrote the songs for the album. How did that happen and do you think that helped in the creative process of making the album?

We did a tour of England the winter before we recorded "Dark So Gold." I think we were in Scotland when the phrase appeared. It was a heavy winter up there and it was very pretty and lonesome.

We were never for sure it would be the title. It's rare that little ideas as that sticks around for very long, because we try to stay in the moment, whatever that means.

But I do think it helped the creative process. It was sort of a guiding light. The phrase holds a feeling and I think it resonates through the record.

Q - In sitting down to make "Dark So Gold," what were your goals and do you think you achieved them?

The goal for us is always songs, but there is always this other thing that is hard to name that we have been wanting to capture, a landscape. I think "Dark So Gold" brought us closer to that place.

Q - Your previous album, 2009's "Tremolo," received rave reviews. Did you feel pressure in following up the album?

"Tremolo" got some great reviews and was a great record for us, there was a little pressure to hold the bar up for us but not as much as the pressure we put on ourselves to create a record that we are proud of.

I think for us, since we started, we knew it was going to take awhile to be able to make the record we are wanting to make, and each one i think gets us closer.

What do you see as the main themes on the album?

I think for me if there is a main theme, it's coping with modern times, the space between cities, the light pollution, the way technology seems to be connecting us but underneath is really separating us on a profound level.

I think these songs are meditations on that.

Q - Even though the both of you are from Iowa, I understand you guys met in Arizona, where you both lived in a Mexican barrio. Was there a strong musical chemistry right from the start?

Our immediate connection were Iowa songwriters like Dave Moore, Joe Price, Greg Brown, Dave Zollo, etc. And blues music. The Delta blues and the Chicago blues were our foundation from the start and still is our foundation.

Even though our songs might not seem like blues music, the blues is very mush at the core of what we do.

Q - Some people might think of your songs as being dark or bleak. How do you view your songs?

I think there is a light and dark to the songs. I think there is a darkness but it has to be dark to see the stars - with "Dark So Gold," we did try to explore the pretty, peaceful side of dark.

Q - Alex Ramsey is also part of the band. How is that working? Do you ever worry that sibling rivalries will cause a rift in the band?

Having Alex as a full time member has been nothing but great. He adds another dimension, in his playing and just his spirit.

I'm so blessed to get to work with him.

Q - The band opened for Loudon Wainwright last year at the Old Town School of Folk Music in Chicago. What does the band learn from sharing the stage with musicians of such caliber?

We have opened and shared stages with so many great artist of our time. It is always interesting to see how the guide their ship. There is a lot to be learned from the ones that have been doing it for a long time, from their shows to the way they treat people around them.

We did a couple of shows with Mavis Staples, and we were just in awe at her spirit and her ability to be fully present and in the moment. The music didn't feel like it was just be performed but being created right there.

Q - What are the band's short term and long term goals?

In the short term, we are writing and getting ready to record a new record and hope to have it out later this year.

Our long term goals are to continue to grow as artists.

Chicago band Brighton MA playing hometown show

2013-04-30T10:21:00.000-05:00

Photo by Stephanie Bassos

By ERIC SCHELKOPF

Despite its name, Brighton MA is a Chicago band through and through.

The band, www.brightonma.net, formed in 2006 after Scotland Yard Gospel Choir co-founder Matt Kerstein and drummer Sam Koentopp left that band and started collaborating with arranger/guitarist Jim Tuerk. Brighton MA also includes guitarist Joe Darnaby and bassist Jon Ozaksut.

Brighton MA is touring in support of its new album, "Oh Lost," and will perform May 2 at The Hideout, 1354 W. Wabansia, Chicago. Stolen Silver also is on the bill.

The show starts at 9 p.m., and tickets are $10, available at www.ticketfly.com.

I had the chance to talk to Tuerk about the new album.

Q - Great to talk to you. Of course, you are touring in support of the new album,"Oh Lost." What goals did you have for the album and do you think you achieved them?

We wanted to make a cohesive rock album in a very short time - none of this recording a record for two years sort of business. We had the tunes, and benefited from a three-week block in Engine Studios which recently moved - I think we were one of the last sessions.

But with the album now in the bag, we're concentrating on bringing the music across the country. We've been playing a lot of shows with a horn trio (the upcoming Hideout show included), which lends itself to a celebratory vibe, and we have a lot to celebrate.

Oh Lost by Brighton MA

Q - The album was produced by Brian Deck, who has worked with the likes of Iron & Wine and Modest Mouse. How did you hook up with him and what did he bring to the table?

After we finished the last EP, ("Billboard Sun"), our manager hooked us up with Brian to do this record. He was instrumental in making it.

Every one in the band has strong ideas about how to shape a tune, so what we needed really was a No-man—someone who could we could trust to sift through all of our collective ideas. Brian was that guy for this record, and we hope to bring him back in on our next. Hilariously funny dude, too.

Q - Does the band's name cause confusion at sometimes, with people thinking you should be a Massachusetts band rather than a band from Chicago? Or is it just another way for people to discover the band?

You know, it does cause a little confusion, but we wanted a band name that had some meaning and depth behind it. Matt carries very warm feelings for it as a place, so we thought that was a nice sort of thing to name a band after.

Almost hoping that if you were into us and our music, then we could be that sort of a place for you to go to. Plus we think it has a nice ring to it.

So although it is a bit confusing, it's also proved to be inclusive. People come up all the time and talk about how it caught their eye because they lived in Brighton for a time or how they love Boston and such.

Q - Matt and Sam left The Scotland Yard Gospel Choir to form Brighton MA. Was the time just right for you to go off on your own? What was your vision for the band?

The SYGC was a blast, but with two songwriters, it couldn't sustain itself, so yeah, it was just the right time to go. That said, it was amicable and we're still good friends with those guys - Mark Yoshizumi recorded our last EP and helped with "Oh Lost."

But as Matt started to write more with Jim Tuerk who had done some string arrangements for the Choir, the idea of BMA started and we built up songs that were largely in reference to the formative years in Matt's childhood. We've grown up a lot since then.

And after a couple personnel changes, we have a pretty tight knit group of guys who are all invested in what we do.

Q - The band continues to gain more fans. How have experiences like playing at SXSW and with bands like Spoon and The Arcade Fire helped the band to grow?

I think every band would concur that playing more shows makes you a better band. SXSW is such a crazy time: a million bands in 30-45 minute increments everywhere.

It's a challenge for sure—the 1-2-3-go! immediacy. We look at playing with bigger bands as a huge opportunity to learn from them musically and to connect with their audience.

Right after SXSW, we did some dates with Tim Kasher and it immediately gained us some fans because his fan base is filled with genuine music lovers who were willing to give us a shot. Plus, you just get better by being around people like Tim and his musicians on the road. Total pros.

Q - How do you think the Chicago music scene compares to other music scenes? Do you have a favorite place to play in Chicago?

We love it here. There are so many great bands with great people in them.

I mentioned us playing with horns - that's something that you could do in any city of course, but we have a vibrant jazz scene here with some unique players.

It seems like everyone here is open-minded and generally open to anything that's good music. And that type of support from the musician community is nice to lean on when you need it.

Q - The band has gained comparisons to The Walkmen, The Flaming Lips and Bob Dylan. Do you consider them influences? How would you describe your music?

Sure! Glad to be considered in that great company!

Our music is all over the rock & roll map. It has elements of folk, noise, pop, classic, grunge and new wave. But while we draw from all these sources, we keep the focus on what serves the individual song with an unyielding priority given to lyrical content.

We hear The Walkmen referenced a fair amount, and yeah, a couple of us guys are really into what they do. But we bring a lot of different influences in - our drummer is a jazz guy, our guitarist Joe is kind of a metal head, Boston's the Dylan scholar, and so on.

That's always been a big value to this band: all the disparate influences we bring informing our collective love of what we're trying to make.

Atlanta band Drivin N Cryin coming to Chicago with new songs in tow

2013-04-26T20:06:00.002-05:00

By ERIC SCHELKOPF

More than 20 years after opening for R.E.M., the members of Atlanta band Drivin N Cryin are proving they have plenty more to say.

The band, www.drivinncryin.com, just released "Songs From The Psychedelic Time Clock," the third of four EPs the band plans to release over a 12 month period. Each EP shows off a different facet of the band.

Drivin N Cryin is sure to play songs from the new EP when it performs May 30 at Schubas, 3159 N. Southport Ave., Chicago.

Miles Nielsen & The Rusted Hearts are also on the bill. The show starts at 9 p.m. and tickets are $15 in advance, $18 at the door, available at www.schubas.com.

I had the chance to talk to Drivin N Cryin frontman Kevin Kinney about the band's current activities.

Q - Great to talk to you. Of course, the band has released three of its four planned EPs so far. Is it easier to make and release music this way rather than concentrating on a full record? What do you see as the benefits?

It's a lot more challenging in some ways, but also somewhat freeing in others. The EP lets me focus on a certain style or head space I'm in at the time.

What usually happens, and what most people hear is a collection of the 20 or so songs I've released this year. We sit in the studio every few years and pick the 11 that would be presented as an album, which usually leads to confusion and criticism about how many different styles we are projecting.

I don't want that any more. I would rather everyone get the EPs and make their own 'mix tape.'

Sell your beats online at ReverbNation.com

Q - Which EP have you enjoyed working on the most? Can you provide any clues as to what people should expect on the next EP?

Well, as always the one we are working on now is my favorite. It is I guess, best described, as Bad Company meets Grand Funk at Jimmy Page's house and sits around playing 45's sitting on the shag carpet, loud as hell, until Jimmy's mom flashes the hallway light and screams, 'Turn that bloody racket down!!!' Does that give you a clue?

Q - Kevin, you are originally from Milwaukee. What made you want to move to Atlanta and what did you think of Atlanta's music scene when you arrived there?

I moved for the jobs. I worked as a laborer at the sewage plant for a couple of years.

The music scene was not that different than anywhere else in America's big cities, but I really got turned on to the 'Kudzu Circuit ' bands !!! It was a whole scene from the southern states, bands like R.E.M., the dB's and Fetchin Bones loosely based on the psychedelic movement of California, i.e., The Byrds, the Beau Brummels and The Velvet Underground .

The Milwaukee sound was a little more factory industrial aggression sounding.

Q - The band's album "Scarred But Smarter" was well-received and helped the band land a contract with Island Records. Were things happening faster than you expected?

When the band opened for R.E.M. and sold out the Fox Theatre in Atlanta, did you think Drivin N Cryin had finally made it? What kind of lessons did the band learn in opening for R.E.M.?

R.E.M. taught us mostly about trying to be a democratic entity, they all had a say in the way the band worked. We tried that, but decided later not all bands can work that way.

I am far to aggressive in where I wanted to see Drivin N Cryin go. I wanted a balance between making it and not making it.

When our most popular record, "Fly Me Courageous," was released, that was a difficult year for me and I didn't think Drivin should try to sustain an approach of trying to sustain mass recognition. I don't want you to own all my records and see every show, but if you could just buy a couple records and come to see me once in a while, I'd be great with that.

Q - It appears that Island Records didn't really know how to market the band. What was the problem and do you think it is easier for a band these days to get its music heard? Is the fact that Drivin N Cryin is releasing these four EPs on its own record label an ideal situation?

I think the EPs are a great way to be heard and it's not a commitment on the band or the listener. I can't listen to 12 new songs of any artist in a row.I love the digital convenience coupled with the up and coming hunger for vinyl.

We will be releasing the fourth one on vinyl, "Songs For A Turntable."

Q- You also have released several solo albums. How do you view your solo projects? Are they songs that you feel don't quite fit on a Drivin N Cryin project? Anybody that you still want to collaborate with?

I would love to work with Neil Diamond. I'm not joking!!!

I have taken a break from the solo career for a bit. That being said, I just released a new record I recorded in one sitting at Chris Griffins house after a 20- hour drive called, "Songs For A Late Night Morning."

Q - After the four EPs are released, what will Drivin N Cryin do next? Four more EPs?

Stay Tuned!!!!

Chicago musician Elizabeth Chidester bringing talents to scene

2013-04-18T14:18:00.001-05:00

By ERIC SCHELKOPF

The Chicago music scene is richer as a result of Virginia native Elizabeth Chidester deciding to call Chicago home.

The multi-talented Chidester, www.elizabethchidester.com, who also is an actress, is keeping busy these days. At 8 p.m. April 20, she will perform jazz standards accompanied by guitarist Jarvis Raymond at Via Gelato, 1853 Tower Drive, Glenview.

In addition, at 10:30 p.m. May 4 and 25, Chidester will perform as part of the Chicago Beast Cabaret Spring Series at The Greenhouse Theatre, 2257N. Lincoln Ave., Chicago. More information is at www.beastwomenproductions.com.

Then from May 10 to June 2, Chidester will take on the role of Glinda in the New American Folk Theatre's production of "The Marvelous Land of Oz," the second book in the original Oz series by L. Frank Baum, at The Den Theatre, 1333 N. Milwaukee Ave. Chicago. Tickets are available at www.landofoz.brownpapertickets.com.

I had the chance to talk to her about her latest projects.

Q - Great to talk to you. You're originally from Virginia. What made you want to move from Virginia to Chicago? Has the city lived up to your expectations?

I love Virginia, and will always love Virginia. I will go back there someday when I find nature and having a family to be more important than meeting people, making music, and having adventures.

I worked on cruise ships as a lounge singer for two years, and between my contracts, I wanted to visit different cities in the U.S. I moved to NYC right after college before working on cruise ships, and I wanted to see if I liked any city better than NYC.

I loved Austin, where my brother lives, and I loved Toronto. I also loved San Fran and New Orleans, but for tourist reasons.

I visited Chicago last, and I found that the work/play energy was balanced, I would be near water, there was an ample community supporting the arts, reasonably cheap cost of living, and great public transit.

My friends that were living here seemed happy. I also felt a strange feeling in my body around the 5th day of my visit that this was were I needed to be.

Q - You're working on an EP that is set to be released this fall. What should people expect from the EP? What are your goals for the EP?

The EP will be around six to seven of the songs I feel are the strongest that I've written since graduating school. I would like for there to be various percussion elements, mostly acoustic based sounds.

I like for it to make people feel, think, dance, something to meditate to, or to have on in the background of their commutes to work. I'd like for it to be an introduction of myself to the Chicago community, as well as tour with it in some surrounding cities, perhaps take it back home to the east coast as well.

Q - You are also an actress. Which do you prefer, performing as a musician or performing as an actress? Or do you need both in your life?

I have always considered myself to be more of a musical theatre actress. I have relied on music to be on stage in that capacity, so I would definitely consider myself to be more of a musician.

However, I do enjoy being in an ensemble and telling good stories, and developing a character is really interesting to me. I'd say I'd like to be in two productions a year if possible.

Right now, I'm Glinda in The New American Folk Theatre's "The Marvelous Land of Oz," the second book in the Oz series.

Q - You seem comfortable in any music genre. Is there a particular genre you prefer and why?

I really love "American" music. Music that is based in the blues, jazz, folk, bluegrass. I have a love for funk and Motown as well, some prog rock. I also love what England has done with "American" music. They actually do it better in some cases.

Q - You recently teamed up with fellow Chicago musician Jeff Brown for his song, "To The Ends of the Earth." What do you think of the Chicago music scene and how do you think you fit in it?

Jeff is a wonderful guy and musician. He's been so helpful and encouraging, and I'm happy to know him.

I think that the Chicago music scene has a lot to offer in terms of people with the desire and talent to perform. I know that this city is very big on theatre, improv comedy, and sports, but the music scene seems to be in a reemergence.

I don't see Chicago becoming Austin, with live music in every bar, but I think the music scene could equal in prevalence to the other performing art forms.

I suppose the most daunting thing about gathering an audience in Chicago seems to be getting people to have time, or desire, to see your show over other kinds of entertainment in the city. Performers are too busy performing to see other performers at times.

We need to reach the people who aren't aware that there is entertainment outside of what they are advertised on the internet or television, outside of the name brand. All the same, the internet is an invaluable tool for the local musician.

Q - Do you have any dream projects, either as a musician or actress?

I would love to tour the nation someday, and I'd love to perform at SXSW and all the various summer festivals. I've also put together a female old time/soul trio called "The Cherry Trio" with a couple girlfriends.

We have a show at Uncommon Ground on Clark on July 6th. I'm very excited about that.

I'm also looking forward to performing jazz standards in various restaurants in the spring and summertime with jazz guitarist Jarvis Raymond.

French band Paris Combo bringing critically acclaimed sound to Chicago

2013-04-17T19:07:00.000-05:00

By ERIC SCHELKOPF

For more than 15 years, five-piece French band Paris Combo has been gaining worldwide attention for its eclectic blend of jazz, world music and alternative pop.

The band will likely garner even more fans with the recent release of its fifth studio album, the aptly named "5." Paris Combo, www.pariscombo.com, will likely play songs from the new album when it performs April 21 at City Winery, 1200 W. Randoph St., Chicago. The show starts at 8 p.m., and tickets range from $25 to $35, available at www.citywinery.com.

I had the chance to talk to member David Lewis (trumpet, flugelhorn and piano) about the new album.

Q - Great to talk to you. "5" is your first album in nine years after the band had taken a four-year break. Did you feel additional pressure since the group hasn't released an album for a while? What were your goals for the album and do you think you achieved them?

Rather than feeling any pressure, we just felt lucky to be able to come back to the group with renewed inspiration and pleasure in playing with one another. We were also lucky in meeting the album's producers (Dominique Blanc-Francard and Bénédicte Schmitt at Labomatic Studio), who brought a fresh approach to the recording/mixing phase.

One of our main goals was to co-write everything as opposed to just arranging each other's tunes like we did in the past, the idea being to go directly to the essence of our collective sound. This meant more time in the rehearsal studio than usual and a longer gestation period for the album, but we are very happy with the result and we feel even more like a group than before.

Q - Why did the band take a hiatus and do you think it helped the band?

The band needed a break after 10 years of intensive touring, bearing in mind that Belle, Potzi and François had already been performing together in other bands since 1990! We had gone from playing cafés, cellars and barges in Paris to touring the world in quite a short time and I think everyone needed the chance to pursue other projects including, in some cases, starting families.

The hiatus enabled us to come back to the band with renewed enthusiasm, but with the experience gained during the first part of our career.

Q - The members of Paris Combo come from very diverse backgrounds. What makes it all work?

At the outset, there is a common love of jazz in its various incarnations, but each group member is multi-faceted. Potzi, our guitarist, is emblematic in that his love for Django Reinhardt is obvious, but he also played in rock 'n' roll groups early on and his North African background is obvious in some of our songs.

Then there's Belle's love for the French chanteuses of the '30s and Rumanian music, but also her background in the French post-punk movement. When I met the group, coming from a classical and jazz viewpoint, it seemed obvious that we could combine different musical influences and link them together.

Q - I'm sure you've heard your music described in a variety of ways. How would you describe your music? Who are your biggest musical influences?

Our music is a sort of hybrid pop (in French) with a streak of jazz running through it. How's that?! The way in which Belle presents the show also has a strong cabaret feel to it. Probably not the simplest description. Django Reinhardt and Duke Ellington remain big influences, but Belle would also mention the B52's and The Specials.

Q - Over the years, the band has played in many different countries. Is there something about the band's music that makes it able to connect with so many different audiences?

Belle's stage presence and voice combined with the group's musical world make it possible to communicate with audiences even when there is a language barrier. We try to have people up and dancing by the end of the show, which creates another strong connection.

Q - What did the band learn playing the cafes and barges along the Seine? How do you think the band's music has changed since first forming?

The atmosphere in some cafes is really part of the overall performance and hopefully you carry some of this away with you to more formal surroundings. I also think this is where Belle's repartee comes from. Playing on barges taught us that even the Seine can be quite rough in bad weather!

Q - Does the band have any dream projects or collaborations ?

We would love to record the symphonic arrangements that we performed at the Hollywood

Bowl in 2011. A film project involving the group would also be fantastic!

Studio Mangiameli presenting fifth annual show in Chicago

2013-04-16T20:35:00.001-05:00

By ERIC SCHELKOPF

Chiara Mangiameli earned rave reviews last year for her performance in the theatrical show "Cascabel" with master chef Rick Bayless.

Now, Mangiameli, www.studiomangiameli.com, will bring her production, "Quejios - Cries In The Air," to the Vittum Theater, 1012 N. Noble St., Chicago.

The production, www.vimeo.com/61942237, will run from May 31 to June 2, and tickets are $25 for adults, $15 for children age 12 and under, available at www.brownpapertickets.com.

I had the chance to talk to Mangiameli about her new production and the flamenco dancing scene in Chicago.

Q - What was your vision in developing "Quejios - Cries In The Air?" Has it come together as you envisioned?

"Quejios - Cries In The Air" was inspired by "cante flamenco" (flamenco singing), which I see not only as the starting point for most flamenco dances, but also as one of the most soulful and expressive styles of folkloric singing. It tends to get under your skin and much like electricity, its presence is felt in the air long after it stops.

My hope is to connect to the audience in some way and for the images they see or the music they hear to linger with them for a little while.

As with most things in life, a vision that you first start off with might evolve in ways that were unexpected. My students are a big part of my process in putting a show together.

Their personalities, a random mistake in class, anything might inspire a new idea, a different direction. I'm not sure anything comes together the way I first envision it and I'm not sure that I'd have it any other way.

Q - Alfonso Cid is a guest singer in the production. What do you think he adds to the project?

I met Alfonso years ago while performing with Las Guitarras De España and I've wanted to work with him ever since. He grew up with flamenco in his native city of Seville, Spain, and has also been through a very rigorous training process to learn vocal technique and the history of various "palos" (song forms in flamenco).

He adds tremendous versatility, knowledge and of course the kind of power that is necessary to accompany several dancers, while always providing the appropriate mood and emotional backbone to fuel the dance.

Q - How do you think the flamenco dancing scene in Chicago compares to other parts of the country? What sets flamenco dance apart from other forms of dance?

I think the scene in Chicago is relatively small but growing all the time. There seems to be more interest in the dance and guitar element and not as much in the singing as you might find in cities such as New York or Albuquerque.

Flamenco in its truest and most basic form is meant to be improvised and improvisation relies on a tremendous ability to listen to and communicate with the guitar and the singing. All of this requires a certain amount of relaxation and ability to be truly "present" in the moment and in the music.

When you experience that yourself either as a performer or as an audience member, you experience something unique and almost magical. Perhaps that's the what they refer to as "duende."

Q - What do you enjoy about teaching flamenco dancing? What do your students teach you?

The best part for me is the rhythm: the musicality and dynamics that you can achieve not only with your feet but with a hand movement, a shrug, anything that shows that the music is alive in you and working its way through the body.

My students teach me that not everyone learns the same way, everyone has their own way of processing information. They constantly remind me to be patient and to maintain a sense of humor about it all.

Q - You earned rave reviews for your work last year with Rick Bayless in the Lookingglass Theater production of "Cascabel." How was that experience and would you do something like that again?

The experience was phenomenal. After leaving the stage many years ago I was presented with an opportunity to use my acting background, singing and flamenco dance all in one role. My life felt like It was coming full circle…. not something you experience very often.

I got to work with my very dear friend and accomplished guitarist Carlo Basile, eat some delicious food with Rick Bayless and be a part of Chicago's most innovative and creative theater company.
I'm always open to interesting and challenging projects….

Q - Do you have any dream projects?

I've been studying Argentine tango and am fascinated by some of the similarities in technique between it and flamenco: the separation of upper and lower body, the elegance of its lines and extensions. That might very well translate into a dream project one of these days :)

Acclaimed British band Clinic coming to Chicago

2013-04-07T09:50:00.003-05:00

By ERIC SCHELKOPF

Liverpool quartet Clinic continues to make eclectic, challenging music after the four members first donned their masks 16 years ago.

The band, www.clinicvoot.org, is currently touring in support of its seventh full-length album, "Free Reign." An alternate version of "Free Reign," entitled "Free Reign II," is also available digitally and features a set of alternate mixes of the original album by producer Daniel Lopatin.

Clinic will perform April 24 at Lincoln Hall, 2424 N. Lincoln Ave., Chicago. No Joy also is on the bill.

The show starts at 9 p.m., and tickets are $15, available at www.lincolnhallchicago.com.

I had the chance to talk to Clinic frontman Ade Blackburn and bassist Brian Campbell about the band's latest activities.

Q - Great being able to talk to you. "Free Reign II" was recently released. What was it about Daniel Lopatin's mixes of the original songs that made you want to release a second album? How do you think they compare with the original songs?

Ade - Our label Domino introduced us to Daniel's work, which we'd heard good things about so we were keen to see his take on the songs. It was interesting to hear new complexities come through in his mixes, and it was new for us to be able to present the audience with two versions of the LP, which is something we've never been able to do before.

Brian - We felt that what Daniel brought to the mixes was a fresh approach and he helped open the songs out to give them a "je ne sais quoi" magical feel. Obviously working with somebody with Daniels talent allows you to go to places you'd never thought of, and that is what has been inspiring and exciting.

Q - "Free Reign" has more of an electronic sound to it than your past efforts. What made you want to go in that direction? Are you a fan of electronic music?

Ade - Yes, I've always loved Kraftwerk and Yellow Magic Orchestra and the rest of the band like electronic music too, so it felt like it was about time we took things in that direction and started to experiment more with synthesizers and samples, etc.

Brian - I think we have always flirted with electronic music on our past records. We have also been fans of acts such as Suicide and Silver Apples along with more recent discoveries like the reissue of Gary Sloane and Clone's "Harmonitalk" and Suzanne Ciani, so it kind of felt like a natural progression to delve further.

Q - Clinic has been together for 16 years this month. How do you think the band's music has evolved in that time?

Ade - In the beginning we started out with a more garage/psychedelic sound and as time has gone on we've been able to play around with different styles, and incorporate jazz, folk and now electronica.

Brian - I think it's evolved at our own pace and nobody else's. And that's important. We've stuck to our guns and avoided being a part of 'scenes' in order to remain unique and never changed for 'the sake of it,' but only when we felt comfortable to make those changes.

Q - The band received a lot of attention with its sophomore album, "Walking With Thee." You guys sold out most of your shows in the United States after touring here for the first time. Why do you think that album resonated so much with people?

Ade - There was a lot of anticipation for our second record in the U.S. following the positive response to "Internal Wrangler," so that definitely helps to get people's attention from the get go. Beyond that I'm not really sure, but looking back "Walking With Thee" was very rhythmical and had a spacial quality to it.

Brian - I think after the debut album "Internal Wrangler" was so well received by critics, there was a real sense of anticipation about what the band would release next. The U.S. profile of the band was lifted further by an appearance on "The Late Show with David Letterman" playing "Walking With Thee".

Q - How do you think American audiences compare to the rest of the world? Did you ever feel pressure to move from Liverpool in order to gain a bigger audience?

Ade - We've never really felt the need to move away from Crosby and Liverpool, and wherever we get to play around the world, we're just appreciative that people keep welcoming us back and want to hear us play.

Brian - American audiences ‘get’ what we are about and what we are trying to convey musically. They are definitely more in tune and have a great taste in music.

I think generally their musical knowledge and acceptance is far superior to that of other places around the world. Whilst traveling around Europe and The States, you only have to turn on the radio to hear this.

To hear challenging and interesting songs on the radio in Europe is somewhat of a rarity. However, we love the eclectic and varied stations you have here.

We have never felt pressure to move away from Liverpool (apart from the bad radio stations.) I think being comfortable geographically is a good starting point to being creative.

Q - Do you think it would have been harder to get people's attention if you didn't wear the masks? What is the reason for the masks in the first place?

Ade - The masks were probably quite helpful to get people's attention in the beginning. We wore the masks to remove that sense of expectation you get with a typical band format but also in homage to bands like DEVO, Crime, and The Residents.

Brian - We wanted people to focus directly on the music rather than the individuals that made up the band. Some people join bands to seek attention.

We joined the band solely to create music, so seeing your face in a music magazine wasn't the goal, having the music written about - was. It was also a great way to stand out from all the other bands at the time, and it also gave journalists something else to talk about too.

I think people in America quite liked the "British eccentricity - Monty Pythonesque" element that it has and they also saw the funny side of it.

Q - The music business has changed dramatically since the band formed. Do you think it is easier or harder for a band to make music these days? What advice would you give to an up-and-coming band?

Ade - Things have changed a lot and it's got harder for us to make music and to try and make a living out of it. My advice would be to keep realistic expectations and just work really hard at it.

Brian - I think it's much easier to make music today as it's very easy to literally have Abbey Road in your bedroom with whatever instruments or amps you desire to create new music on a fairly cheap laptop and some plug ins. When we started out, we'd save up for months so we could afford a day in a studio to quickly thrash out six to eight songs.

Time was of the essence as studio time wasn’t cheap. Today in comparison, the recording process is relatively inexpensive and without those time constraints, it's easier to experiment and hone your craft in the luxury of your own home.

But it is definitely more difficult to make a living out of music today. The business model has altered drastically and it is still changing.

The way the music is made and compiled and the way it is ‘acquired’ by the listener has changed dramatically. Less money is coming into the industry so less risks are being taken by labels.

Less bands are being signed and therefore new challenging music will have to find different ways to reach us. Cottage industry is and will play a big part in getting new and exciting music out there.

The advice I would give to an up-and-coming band is to stick to your instincts. Don't let people change your opinions. If you think something sounds good, then..... IT DOES!

Q - What's in the band's future? Do you think Clinic will be around for another 16 years? Do you have any dream projects or collaborations?

Ade - All I know is that I've got a lot more music in me, and endless ideas about what to try next. We'll keep going until someone politely asks us to stop.

Brian - Hopefully Clinic will still be around in another 16 years. We've past the seven-year itch a couple of times now, so it would be clichéd to split up due to "musical differences."

I guess we'll keep doing what we’ve always done. Just making music that we enjoy and hope that others do too.

Chicago band Counterfeit i takes musical chances on new EP

2013-04-04T15:15:00.000-05:00

By ERIC SCHELKOPF

Chicago alternative rock band Counterfeit i is a group that continues to take musical chances.

Those who were introduced to the band, www.counterfeiti.com, through its last album, "A Glimpse, an Eclipse," might be surprised at the direction the band has taken with its new EP, "Still."

I had the chance to talk to Counterfeit i frontman Derek Allen about the new EP and the band's other activities.

Q - Great talking to you again. You have a new EP, "Still." How do you think it compares musically and lyrically to your last album?

You too! "Still" is the polar opposite of our last album. It's more organic and laid-back.

The goal with our last album was to make a sort of disjointed and raucous listening experience, while "Still" is much more steady and flowing. Lyrically, it's more abstract.

All of the songs, except for one, are made so that you can't really understand the lyrics. I wanted the listener to be able to interpret what they hear and juxtapose their own ideas for the words.

Q - You say that you would like the album to be a cathartic experience for the listener to overcome the negativity in their life. You yourself suffer from chronic depression and anxiety. Was it cathartic for you to make the album?

This was probably the most cathartic creative experience I've ever had. I was going through a lot at the time of writing "Still," but I was very much at peace with these songs and the writing and recording of them. The whole process was very therapeutic.

Q - The album was produced and engineered by Sean Payne. How did you hook up with him and what do you think he brought to the EP?

Sean has been friends with our label, Bit Riot Records, for a long time, so he was the first person we approached for the mixing and engineering side of things. He definitely helped me bring out some things in the mix that I buried for whatever reason in the demo mixes.

Him and Nikk Hynes at Glitch Mode Studios did a great job on the masters as well. They sound really warm.

Q - You guys will be doing a 20 city national tour starting in mid June. Are you guys looking to gain a bigger audience? Do you think now is the right time to try to get your music out to more people?

That's what we're trying to do, like most bands, ha ha. I feel like "Still" is much more accessible though it still is experimental.

I honestly feel like it's the best thing Counterfeit i has done yet and I'm really excited to see where it goes and what it does.

Q - How do you think the band has evolved since it first formed and how do you think it will continue to evolve?

I think we've just matured musically. The writing has gotten better, I feel at least. We've gone from a post-punk kinda band to a more shoegaze/experimental sound. But who knows where it'll go from there, ha ha.

Q - What are your short-term and long-term goals for the band? Is the band where you want it to be these days?

We're just wanting to get on the road again and play for people. We've gotten a great reaction to the new songs and hopefully it continues.

Q - What do you think makes the band stand out?

I think we have an honest desire to be ourselves. Sadly, I feel like that's lost in a lot of music these days.

But we also try to experiment in order to be able to express ourselves in different ways. We're definitely not a conventional rock band.

Acclaimed musician Lisa Germano coming to Chicago

2013-03-30T08:01:00.000-05:00

By ERIC SCHELKOPF

Lisa Germano has a history of making emotionally rich music.

She continues in that tradition with her latest album, "no elephants." Germano, www.lisagermano.com, who was once a member of John Mellencamp's band, will perform April 23 at Schubas, 3159 N. Southport Ave., Chicago.

Kaiser Cartel and Freedy Johnston also are on the bill. The show starts at 8 p.m., and tickets are $12 in advance, $14 at the door, available at www.schubas.com.

I had the chance to talk to Germano about the new album and her career.

Q - Will you playing mostly from your new album on this tour?

This tour I will be on my own, playing a piano set as I will play much of 'no elephants' and it is mostly piano. I can't take the bees, cell phones, computers and other animals with me this time.

I hope to create an atmosphere people can relax and go into.

Q - What kind of goals did you have for the new album and do you think you achieved them? What does the album's title refer to?

''no elephants'' is a record about consciousness. Things I've learned about our food, how factory farms torture animals, global warming and being aware of these things so you can make conscious choices.

The elephant in the room can be that there is no elephant in the room because we aren't even really communicating when we don't speak with each other less and less and speak through devices that allow many different interpretations. Also, if we continue to let poachers kill these amazing beings for ivory which no one needs, there will be no more elephants.

Q - "no elephants" is being described like a book made to be read from beginning to end. In this fast paced world, do you find it frustrating to get people to really sit down with your music?

I find it more sad than frustrating that people look at music as bits and pieces, sometimes not even getting through a whole song, but moving on to the next thing. With this record, me and Jamie did make a little book only 30 some minutes where all the songs are connected, melodies going in and out of each song.

I didn't even realize when writing that they were the same melodies, and the outside sounds from my apartment connecting the music to the outside. I wish more people could take the time to listen all the way through, but I don't expect it.

It's just out there now and I have to let it be what it is.

Q - On this album, you work again with Jamie Candiloro. How did you hook up with him and what do you think he brings to each project of yours?

I met Jamie years ago when working on "Lullaby for Liquid Pig." Joey Waronker, who was making it with me, brought him in for some mixing ideas and we hit it off immediately. Since then he has engineered and mixed the next two records.

On this one, he brought even more to it with great ideas sound wise, bringing the outside
sounds into the record and inspiring me to keep working on it. Sometimes I don't know if a song is working until I hear it back and he always makes my music pull one in which helps me finish.

He really is a great artist and now we know each other's habits so well that many times he's already doing something I am just about to ask him to do, or he's knowing that I'll change my mind in the middle of a thought and doesn't get upset with me, which I need to be able to try any weird thought.

I'm lucky to work with him.

Q - Early on in your career, you were part of John Mellencamp's band. What did you learn from the experience?

I learned a lot about people working in John's band. It was a great experience and many hard lessons, strange things I never knew were included in playing music. It was a shock and a wonder.

Q - At the end of 1998, you said you were done with the music business and started working at an independent bookstore. What made you want to start making music again?

I guess this info must be on some article somewhere. Anyone in this crazy business says "I'm done, that's it!!!" at some point, and then keeps going. That's all that was about.

I'm glad to keep trying to be out there playing. Reality is that I will be a bad lady if I don't find others means of making money.

Q - Your albums have been described as "savagely honest." How would you describe your music and how do you think your music has grown since albums like "Happiness" and "Geek the Girl?"

I think my music is very honest still, yet I'm a bit less dramatic and can see from a distance better. I like this improvement, but don't feel it makes the past records mean less, just different.

Chicago band Jackpot Donnie bringing vibrancy to music scene

2013-03-15T09:00:00.001-05:00

By ERIC SCHELKOPF

All bands should play with as much vigor as Chicago band Jackpot Donnie does on its new EP, "Mayday!"

The band, www.jackpotdonnie.com, is likely to gain new fans with its charged-up blend of rock, blues, funk and reggae. "Mayday!" was engineered and produced by former Filter drummer Steve Gillis.

Jackpot Donnie will perform March 29 at Metro, 3730 N. Clark St., Chicago, as part of a CD release party.

The Future Laureates, Molehill and The Scissors also are on the bill. The show starts at 8:30 p.m., and tickets are $14 in advance, available at www.etix.com.

I had the chance to talk to Jackpot Donnie frontman Matt Love about the new EP.

Q - In sitting down to make "Mayday!," what were the band's goals and do you think you achieved them?

We wanted to progress with our songwriting. In particular, we wanted to record really crisp, fun, catchy songs that we hoped would be accessible to the casual listener on the radio.

But on the more emotional side, our drummer had just returned from a year-long hiatus, and we were really happy about that, so that lead to songs that we were really excited about, which we wanted to share with our fans.

Q - Steve Gillis produced and engineered the album. How did you hook up with him and what do you think he brought to the table?

We were introduced to Steve through our good friend Tate, of the band How Far to Austin. They had just done a full-length with Steve, and it sounded great to us, so we were curious to see what Steve would do to help us polish our sound.

We met him, talked to him about what we wanted this EP to be, and he came out to a couple practices and listened to the songs that we were thinking of putting on the EP. Once we had all agreed that it was a good fit, we moved forward.

Not only is Steve a really smart engineer, but he's also a talented songwriter. He really helped us craft what were, originally, really just rough ideas that we thought we were ready to record.

He pushed us to do things that we hadn't thought to do before, which in turn helped us to do a bit more on this EP in terms of showing people what we are capable of. The end result is a 5-song EP that's better than what we had originally hoped for.

Q - You've probably heard the band's music described in many ways. How would you describe the band's music?

We've always fallen back on the "rock-reggae" term, which I think suits us fairly well. But really, we're just a rock band. We love playing music that makes people dance, bounce up and down, and just have a good time.

Q - Your music has been featured on both television shows and in film. Do you view that as just another way to get your music out there?

Absolutely. The more people that can hear us, the better. But we're also creative guys, so it's a lot of fun to be able to combine what we do to other forms of artistic media.

Q - The music business has changed drastically over the years. Do you think it is harder or easier to be a band these days?

It's never really "easy" to be in a band. There are lots of different and passionate personalities, schedules, and individual goals that all need to be integrated.

But if you're lucky, which we are, then you end up just playing music with your friends, which doesn't ever suck. In terms of getting noticed, that's always been the hardest part for any band.

It's not just about getting your foot in the door, but having the door open up for you in the first place - that's the trick. Until that happens for us, as we said 10 years ago when we started playing, it's always been about making and playing music with your friends, and having fun doing it.

As long as we're still having fun, being in the band will always be easy.

Q - How do you think the band's music fits into the Chicago music scene?

There's not a lot of original rock-reggae bands in Chicago. Right now there seems to be a lot of folk-rock, cover bands, or metal bands playing around the city, so we're happy to have a slightly different sound.

Overall, the music scene in Chicago is really thriving. People in this town love to see a good show, and that's always been our #1 goal - to put on a good live show.

We've been playing in the city for most of the last decade, so I like to think we've been able to create a niche for ourselves in Chicago music.

Tribute set for blues musician Magic Slim

2013-03-09T18:34:00.002-06:00

The blues community will come together on March 28 at the Mayne Stage in Chicago to honor Magic Slim, who passed away on Feb. 21 at the age of 75.

"A Night For Magic" will take place at 7 p.m. at the Mayne Stage, 1328 W. Morse Ave., Chicago. Tickets are $25, available at www.maynestage.com.

The host band for the evening will be The Teardrops, fronted by Slim's son, Shawn Holt, who just became a member of the band at the beginning of the year.

The rest of the lineup will include John Primer, Otis Clay, Eddy Clearwater, Billy Branch, Lonnie Brooks, Wayne Baker Brooks, Dave Specter, Eddie Shaw, Nick Moss, Grana Louise, Big Time Sarah, Zac Harmon, Carl Weathersby, J.W. Williams, Jimmy Burns, Linsey Alexander, Steve Cushing, the Chicago Blues All-Stars and more to be announced.

All proceeds from the event will go to Slim's family.

For those who can't make the event but would like to make a donation to the family, donations can be made to Magic Slim's wife, Ann Holt, and mailed to her c/o Slim's manager, Martin Salzman, at 22 W. Washington, Suite 1500, Chicago, IL 60602.

Magic Slim and the Teardrops won the coveted Blues Music Award in 2003 as "Blues Band of the Year," one of six times Slim won a BMA, considered the highest honor in the blues. In 2011, the state of Mississippi erected a Blues Trail Marker in Slim's honor in front of a building in Grenada where his mother operated a restaurant.

Information courtesy of Blind Pig Records.

Glen Phillips coming to Evanston's S.P.A.C.E.

2013-03-08T07:18:00.000-06:00

By ERIC SCHELKOPF

Musician Glen Phillips continues to push forward after a freak accident a few years ago almost put an end to his career.

Phillips, www.glenphillips.com, had to relearn how to play the guitar after severing nerves in his left arm in October 2008 when a glass coffee table he was sitting on gave way.

He will play songs from his esteemed career, including as frontman of Toad The Wet Sprocket, when he performs March 30 at S.P.A.C.E., 1245 Chicago Ave., Evanston.

Dave Sills also is on the bill. The show starts at 8 p.m., and tickets range from $20 to $40, available at www.ticketweb.com.

I had the chance to talk to Phillips about the upcoming show and his other activities.

Q - Great to talk to you again. I understand that you will be drawing on songs from your entire career during the upcoming show at S.PA.C.E. Will it be hard to choose which songs to perform? Will you take any requests from the audience that night?

I usually just write down more songs than I'll need in no particular order and wing it.

I play things from pretty much every project, and try to get to requests as long as I think I can pull them off. There's a lot of solo material, some Toad, some WPA, and a few covers.

Coyote Sessions by Glen Phillips

Q - Last fall, you toured with Grant-Lee Phillips. When you are not touring with Toad The Wet Sprocket, do you prefer touring by yourself or with someone else? Or do you need both in your life?

I need variety and freedom creatively, so it works for me to mix things up. That's a big reason Toad was able to get together and make a new record (we're just finishing it up).

We all have different projects, so Toad doesn't have to be our one and only outlet. When I'm out solo I like getting to be on the road with someone else.

I've made a lot of good friends that way. Otherwise, it's just me in the car listening to Ira Glass talking.

Are solo shows a way for you to showcase how far you have come in the rehabilitation of your left arm?

Abulum by Glen Phillips

A few years ago I fell through a glass table and severed the ulnar nerve in my left arm. I just started using my pinky again in a limited way about a year ago, but it's still pins and needles and feels more like a balloon than a finger.

I was told by my doctor that playing guitar was the best physical therapy I could do. I'm not trying to showcase the recovery so much as I'm trying to just play the music as well as I can.

There was a lot of room for improvement before I hurt my arm, and there's even more now.

Q - How is the new Toad The Wet Sprocket album coming along? When can fans expect it to be released? What should people expect from the new album?

We're very close to being finished. I'm actually writing these answers in the studio as we're doing some last-minute keyboard overdubs.

Mixing starts this week. As for the release, we'll put out a single in late spring and sell the record at shows and online to begin with, and hope for a broader release maybe in September.

All the details are still coming together, so we hope people will check in at the website or sign up for the mailing list so we can let them know about it.

We're all happy with the record. It's not the record we would have made in 1997. We've learned a lot in the last years, and I think these songs reflect that growth.

All You Want by Toad the Wet Sprocket

Q - Do you view Toad The Wet Sprocket as your main project these days? Do you have any dream projects or dream collaborations?

Toad is my main project for the next year or two, but I have a lot of and friends I want to play with, and am excited about the next solo record as well.

As for dreams…who knows. I'm lucky to get to do this at all. I just want to keep that in mind and keep trying to do good work.

Chris Greene Quartet pushing musical boundaries

2013-03-03T14:15:00.000-06:00

By ERIC SCHELKOPF

Chicago-based The Chris Greene Quartet continues to earn critical acclaim for pushing the boundaries of jazz.

People can judge for themselves when the band, www.chrisgreenejazz.com, performs March 10 at City Winery, 1200 W. Randolph St., Chicago. The show starts at 7:30 p.m. and tickets are $10, available at www.citywinery.com.

I had the chance to talk to Greene about the group and its latest activities.

Q - Your band's last album, "A Group Effort," earned critical acclaim. Does the album's title sum up the album and what you wanted to achieve? What were your goals for the album?

My goal for any album project is to simply document where the band is creatively and conceptually.

It’s one of those things where all the stars seemed to align at the right time. Six months before recording the album, legendary recording and mixing engineer Joe Tortorici reached out to me with a phone call.

He told me how much he appreciated my playing and the band concept. He expressed a strong interest in working with my quartet - be it recording in the studio, engineering a live show, or doing a ﬁnal studio mixdown for us.

Keep in mind - Joe is a guy who has worked with MAJOR jazz and pop artists (Ella Fitzgerald, Whitney Houston) and feature ﬁlm soundtracks (A League of Their Own) over the course of his long career. So his endorsement was extremely ﬂattering.

A Group Effort (2012) by Chris Greene Quartet

Also, I had a new drummer in the band - Steve Corley - who has roots in acoustic jazz, gospel, and R&B. In just three months, he took my playing and the band’s collective sound to a whole different level. So I was anxious to record the new chemistry.

We had initially planned to record the album in the studio in December, 2011. But I got a call from the Mayne Stage, who wanted to put a concert together with my band as the headliner.

The Mayne Stage is a historic and beautiful movie theatre from the 1910s located in the Rogers Park neighborhood of Chicago that has been retroﬁtted with top notch sound and recording capabilities. It’s now a renowned stop for national touring acts.

Playtime - Volume 2 (2012) by Chris Greene Quartet

As much as I love recording in the studio, I was even more psyched to record a live record. There are so many special moments that happen at a live gig that can’t always be captured in recording studio.

The Mayne management and I agreed on a date of Thursday, October 27, 2011. I asked Joe - who had already recorded and engineered several shows at the venue - to engineer and record our concert.

I asked my friend and keyboardist William Kurk (who introduces the band on the CD) to be our opener for the night. The Chris Greene Quartet recorded 9 selections in from of a lively crowd of 100 of our fans. Six of nine tracks ended up on the ﬁnal CD. The remaining three are available only on our website.

On January 10, 2012, I initiated a Kickstarter campaign to help defray some of the promotion and graphic design costs. I only needed to raise $3,150.

We reached our goal in a little over two weeks, and we ended up raising more than $5,000 overall. People from as far away as Australia and Portugal pledged their hard -earned money to be a part of this process.

The album’s title - Well, the band is not all about just me. It’s not just me on stage with a “backing band."

We’re four musicians on stage with a shared musical history, palpable chemistry and a uniﬁed band concept. Joe Tortorici did an impeccable job capturing our live show and mixing the ﬁnal product.

And with the help of the Kickstarter campaign, I’ve been able to give the record the promotion it deserves. Also, I wrote 2 songs, our pianist Damian wrote 2 songs, and our bassist Marc wrote one.

And we all had a hand in arranging them. And then there's the successful Kickstarter campaign. That’s why I called the album “A Group Effort.”

Q - Is the group working on new music? What should people expect from a new album? Will you be building on what you did with "A Group Effort?"

We're always working on new music. Just this past month, we've added 10 new songs to the repertoire.

We all write for the band, so that makes my job even easier. The only things I hope that people expect from us are artistic integrity, quality, and honesty.

As far as building on the last album goes, I'm sure we'll be doing that on some level. But ultimately, I hope that we evolve from album to album. If the next album sounds exactly like "A Group Effort," I either need to step up my sax practicing or quit playing altogether.

Q - What was your vision for your current band as opposed to your last band, New Perspective?

I started the Chris Greene Quartet in October of 2005. I initially started the band simply to play some acoustic jazz on tenor saxophone.

But I couldn’t ignore the soul and funk I heard as a child and the hip-hop that I listened to as a teenager. So all those inﬂuences gradually found their way into our repertoire and our band concept.

Damian Espinosa, my pianist, was a holdover from New Perspective, my previous electric jazz/funk project. I’d played with Marc Piane, my bassist, on and off for about 10 years. And I’d known Steve Corley (drummer) for some time before he joined the band last year.

My intention for using funk - not to be to lofty about it - is the same as that of Bartok or Beethoven, when they used folk melodies as an element in their compositions. So when there’s funk in the music, it’s because I hear it there, and not because I’m just trying to please the audience.

So I had to ﬁnd people who were open-minded and well-versed in acoustic jazz as well as other styles and genres of music.

Q - You started playing the saxophone at age 10. What drew you to the saxophone in the first place? Are there are other saxophonists you admire and why?

Initially, I was drawn to the saxophone because it was shiny and had lots of cool buttons. I didn't realize that I was any good at it until my band directors kept giving me solos in the jazz band.

I ﬁnd myself attracted to players who can simultaneously juggle rhythm and harmony, and emotion when they improvise. And not just saxophone players, either.

From a straight-ahead standpoint, I like Charlie Parker, Lester Young, Coleman Hawkins Sonny Rollins, John Coltrane, Branford Marsalis and Stan Getz. And I’m also a fan of players who aren’t shy about their love for funk and R&B: Maceo Parker, Eric Leeds, Dave Sanborn, Steve Coleman, and Kenny Garrett.

But when it comes to pure improvising and thematic development, Sonny Rollins is STILL head and shoulders above everyone.

Q - You've performed or recorded with the likes of Common and The Temptations. What have those experiences taught you?

For one thing, it’s interesting to see all the work that goes into a large scale pop music production. The lights, the great sound, the choreography, the intricate musical arrangements of familiar hit songs...it’s all a fascinating process.

I’ve always thought that there isn’t a jazz musician on the planet that couldn’t beneﬁt from seeing a large scale pop show or a big Broadway musical. Besides the intrinsic entertainment value, you gain an insight into how to entertain people.

I’m not saying that jazz musicians need to adopt a big splashy stage show with Auto-Tuned vocals and 25 background dancers. But jazz musicians need to give concertgoers something to look at and feel as opposed to just a bunch of extended solos and crazy time signatures.

When I go to a show, I want to see musicians expressing themselves with passion and heart - not a bunch of music scales and patterns. If I pay to see you, I want to see you throw down.

On the musical side, the Temptations gig was especially enjoyable for me because I grew up hearing Motown music. My parents were both huge fans of many of the artists on that label.

And it was inspiring to see Otis Williams (the only living original Temptation) out there in his 70s still killing it on a nightly basis. As for Common - how can you not appreciate a local boy done good?

Q - Your band doesn't play traditional jazz, whatever that means. Is it hard to draw people to your music when they have a preconceived notion of what jazz should sound like?

Not really. Most of the people who frequent jazz clubs don't know anything about jazz, per se. They know what they like and like what they know.

The average person could care less how many Sonny Rollins solos that I've transcribed. Ultimately, they want music that makes them that they can feel.

Most jazz musicians listen to a wide swath of music. And I see no reason to hide it.

At college, I would have theory and private lessons all morning, then jazz improv or arranging classes in the afternoon, and then would sit and watch "Yo! MTV Raps" in the evening. Plus, my mom was really big into Motown and Philadelphia soul, and my dad was into funk and disco.

And because of all that, I already knew a lot of the things the rappers were sampling, which led me to check out James Brown, and then (Brown’s great alto man]) Maceo Parker, and the whole school of r-and-b sax playing. And somewhere along the way, all those wires were crossed and soldered together in my head.

So even if an audience member doesn't know about jazz, there should (hopefully) be other elements in the music for them to relate to.

I’ve had some people, who have a restrictive view of what "jazz’" is, actually lecture me – "What do you think you’re doing?," that kind of thing.

But we were playing recently at the Chicago Cultural Center, and a 60s-ish black lady comes up – a lady who’d seen a lot in her time, heard people like Duke Ellington and Count Basie – and she said, "You know, you guys remind me of how jazz was played back in the day."

She saw right through all the funk and the other stuff and got the traditional element. She found the honesty; she knew we were coming right out of the tradition.

Most of the people who buy our CDs and come to our shows aren’t “jazz fans” per se. But they’ll respond to the visceral, melodic or rhythmic aspects of the music, even if they can’t grasp the musical elements. We’ve had people come up to us after shows and say, “I thought I hated jazz. But I really liked you guys.”

Q - What do you think your band adds to the Chicago music scene? What are the band's short-term and long-term goals?

I have no idea. History and posterity will decide what I or my band have added to the scene. We have performed as far north as Madison, Wis., as far east as Detroit, Mich., as far west as Burlington, Iowa, and as far south as Champaign, IL.

We plan to do even more touring in 2013 - nationally and - hopefully - internationally. We plan to return to the studio this summer as well.

A cappella band Pentatonix bringing strong vocals to Chicago

2013-02-26T22:55:00.000-06:00

By ERIC SCHELKOPF

With more than 50 million YouTube views, a cappella band Pentatonix is helping bring vocal groups to a new level of popularity.

Pentatonix, which emerged as the winner of season three of "The Sing-Off," will perform March 2 at the Riviera Theatre, 4746 N. Racine Ave., Chicago. The show starts at 7:30 p.m., and tickets are $24, available at www.jamusa.com.

I had the pleasure of interviewing Pentatonix member Mitch Grassi about the upcoming show.

Q - Great talking to you. How has the tour been going?

The tour has been going so well! We're having an amazing time performing every night and meeting all the great fans.

Q - Most of the shows on your fall and winter tour last year sold out. Did you expect such an overwhelming response to your music?

We really didn't! We were very unsure of the response we would get out on tour, but we are so glad it's positive.

Q - Of course, you guys were named the winners of season three of "The Sing-Off" Were you pretty confident of your chances to win it all? What did you think of your competition? What was the biggest thing that the group learned from that experience?

We actually weren't, ha ha ha. Every week right before we would perform, we would psyche ourselves out and be like, "We're going home, we're going home!" Our competition was all exceptionally talented!

We learned that our group dynamic is the most important thing. We couldn't let petty things get in the way of our job.

Q - I understand that 24 hours before the audition for "The Sing-Off," you still hadn't all officially met. Looking back, do you wish you had more time to prepare? Why do you think your voices blend well together?

It couldn't have hurt to have had more time! But we pulled it together in a short amount of time, which I think speaks volumes about us.

Kirstie, Scott, and I have been singing together since high school, so we've really gotten to know each other's vocal habits. We sort of mimic each other's placement and vowels while we sing together, which makes for a fuller sound.

Q - The group has become well-known for some of its covers. How do you choose what songs you want to cover and what do you try to do with those songs? What should people expect from your new EP?

www.youtube.com/user/ptxofficial?feature=results_main

Typically, we will choose songs off of the top charts, or songs that are currently blowing up. We like to give well-known, popular songs a whole new spin and do something totally different with them.

People should expect a lot more original material for "PTX Vol 2." We are writing like crazy while on tour right now!

Q - Why do you think there is such an interest in a cappella groups? What are the additional musical challenges of being an a cappella group?

I think people nowadays are looking for a more organic sound in music. You turn on the radio and 95% of what you hear is auto-tuned, "wall-of-sound" -ish music that's been dumbed down so that virtually everyone can listen to it without having to think about or focus on it.

With a cappella, you have 5 or more complex parts to listen to, and to top it all off, they're all being produced with the human voice! Also, you typically have to be a strong singer in a cappella, because the voice is the foundation of the music you make. With radio-friendly pop songs, you don't necessarily have to be a good singer - the technology "sings" for you.

As an a cappella group, we have to get creative! We don't have synthesizers or instruments to fill our sound, so sometimes we mimic those sounds or we figure out interesting ways to add substance to our sound.

Q - The movie "Pitch Perfect" presented a sometimes humorous look at a cappella group competition. Was the movie true to life at all?

In some ways, it is. A cappella can be fairly dramatic and extremely competitive. However, a girl doesn't become a bass if she acquires vocal nodules. ;)

Q - Where do you see the band going from here?

We will definitely be touring more. I think we are still trying to figure out our original sound, as well, which I'm totally stoked for! I think it's time the world hears what we're really capable of.

Blues world mourns death of Chicago's own Magic Slim

2013-02-22T12:57:00.003-06:00

Magic Slim performs at the 25th Annual Chicago Blues Fest. Photo by Adam Bielawski - June 8, 2008 (Photo credit: Wikipedia)

The blues world lost another great one this week.

The musician known as Magic Slim died at a Philadelphia hospital at the age of 75. Born Morris Holt in Torrance, Mississippi in 1937, the guitarist performer, bandleader, and recording artist went on to enjoy a career that launched him to national and international recognition and acclaim.

Slim was one of the foremost practitioners of the raw, gut-bucket, back alley blues associated with the postwar Chicago blues sound. He and his band, the Teardrops, were known as "the last real Chicago blues band" for their authentic, no-frills, straight-no-chaser performance of the music.

In 1955, like many musicians from the Deep South, Slim migrated to Chicago, where he was mentored by his friend Magic Sam, who gave the lanky Morris his lifelong stage moniker. Initially discouraged by the highly competitive local music scene, Slim went back to Mississippi and spent the next five years woodshedding and perfecting his craft.

He confidently returned to Chicago and became a formidable player on the scene, eventually putting together the Teardrops, who would become one of the busiest and best-loved blues bands around, and one of the most sought-after headliners for festivals in Europe, Japan, and South America.

Slim and his group won the coveted Blues Music Award in 2003 as "Blues Band of the Year," one of six times Slim won a BMA, considered the highest honor in the blues.

"Magic Slim embodied the heart and soul of this label," Blind Pig Records owner Jerry Del Giudice said. "It was Magic Slim, and the guys like him, and their music, that inspired us to start the label in the first place."

Information courtesy of Blind Pig Records.

Clinard Dance Theatre putting flamenco dancing in the spotlight

2013-02-16T09:13:00.003-06:00

By ERIC SCHELKOPF

Since forming Clinard Dance Theatre in Chicago in 1999, Wendy Clinard has elevated flamenco dancing to a new art form.

Clinard Dance Theatre, www.clinardance.org, will present "From the Arctic to the Middle East (Broken Narratives by an American Flamenco Dancer)" on Feb. 22 at Mayne Stage, 1328 Morse Ave., Chicago.

The show starts at 8 p.m., and general admission tickets are $25, available at www.ticketweb.com.

I had the pleasure of talking to Clinard about her vision for the show.

Q - In putting together the show, what did you want to do and do you think you achieved your goals? What should people expect from the show?

I wanted to portrait the episodic, fragmented world we live in. I employed sound, movement, spoken word and image to show how parts make a whole, not just part.

In the fragmented timeline of our story I show how we are interconnected, I show how things, people, the natural world are all connected. I think if we continue to compartmentalize our lives, we create more strain and stress.

If we can suspend our personal world views and let wonder and curiosity do some of our observing we are likely to find some ventilation to the usual fears and complaints.

The work is an invitation to the public. It asks the public questions, not in a literal way, but it asks.

Therefore the audience can expect a dialogue maybe with a friend after the show or with themselves. EACH AUDIENCE MEMBER is encouraged PUT TOGETHER THE WORK together FOR HERSELF, as in a game of dominoes or cards, and, as with a mirror, she gets out of the piece as much as she puts into it, for, as written in one of the spoken word excerpts, you cannot get more out of the truth than what you put into it.

Q - What do you think it is about flamenco dance that makes it unique? What drew you to the world of flamenco dance?

What I prize highly in flamenco dancing is its internal, abrupt, raw expression(s). The form has evolved because it doesn't like contrived gesture.

Gesture in flamenco is expressed differently depending on the artist performing it or the era it is living in at a given time period. When I've attended the biennial in Seville (month long flamenco festival) you see so many different inventions using flamenco dance, so many manifestations using the form.

There is no stereotyped body type and there is no need to mask yourself; the form encourages self-expression.

Q - In creating Clinard Dance Theatre in 1999, what were your main objectives? How do you think your theatre has contributed to the entertainment and cultural scene in Chicago?

Clinard Dance Theatre has been a platform for me to collaborate with many artists in different disciplines. Chicago is not Seville but it has so many dedicated, electric, and alive artists working here.

These artists push the boundaries of their forms. These dedicated artists have been the folks I have wanted to work with.

I feel like flamenco demands a dedication to penetrate some of its truths. So whether or not the work we have created in the end is flamenco or not is not as important as the live, wrestled with quality that our original pieces hold and this defies categories; it is firstly itself.

The audience takes what they wants or can from our works and thus changes it to their measure. Some pick out parts and reject the rest, some strain the story through their mesh or prejudice, some paint it
with their own delight.

A work must have some points of contact with the public and place to make them feel at home in it. Only then can they accept wonders.

Our dance making encourages wondering and that's a big contribution to Chicago's cultural scene because wondering leads to creativity.

Q - You also are an instructor. What are the biggest challenges or obstacles in trying to teach flamenco dancing?

I think the biggest obstacle, unique to flamenco verses ballet or contemporary dance here in Chicago, is to get students beyond THE COSTUMES, beyond the representational aspect of the form. Flamenco is a whole body of knowledge that requires sustained inquiry and when we reduce it to a handful of "steps" and fancy costumes we do it a disservice.

As a result, the art form continues to remain marginalized in comparison to other dance forms. Just think about the many presentations of ballet or contemporary dance today or in dance history, there are many inventions.

Q - Would you say that flamenco dancing has become more respected over the years?

I would say that flamenco is deeply respected by people that have educated themselves about the art form including its roots, history and evolution.Taking time to see the pantheon of expression and various treatments around the form over time will blow any static image one has about the art out of the water.

Again as mentioned earlier, if we (as in people outside Spain) continue to reduce it to a postcard image it is hard to get the public to let go of those stereotypes.

Q - You also are part of the group Las Guitarras de Espana. What made you want to be part of that project?

The flamenco community in Chicago is small enough that everyone knows everyone and we all tend to work with one another at different points in time. Las Guitarras has hauled in a bunch of artists experimenting with world forms and that has been part of my curiosities also so it made for a natural collaboration.

Q - What dream projects do you have?

Currently we are working on a project inspired by the Chicago River. We want to have Stravinsky's "Rite of Spring" for four hands on the piano as the accompaniment.

I think it will be challenging to use my feet percussively with this piece, to find new isolations in my body and seek out the energetic "hand offs" between dancer and musicians. I had a great painting teacher once who would know when we started to really like our painting - at that point he would have another student work on our painting and you on theirs.

I got it and I try to practice that spirit of continually challenging myself and that means not holding on and never arriving, but staying desperately curious for the ride.

Bluegrass sensation Sierra Hull coming to Chicago

2013-02-13T22:17:00.000-06:00

By ERIC SCHELKOPF

There's not many musicians who can brag that they were invited to perform on the Grand Ole Opry stage at age 11.

Bluegrass musician and mandolin player Sierra Hull can. Hull, www.sierrahull.com, will perform Feb. 15 at the Northeastern Illinois University's Recital Hall, 5500 N. St. Louis Ave., Chicago.

The show starts at 8 p.m., and tickets are $25 for the general public, $15 for seniors and $10 for students, available by calling 773-442-4636.

I had the chance to talk to Hull about her career as well as her latest activities.

Q - It's great to talk to you. I understand that you are working on music for a new album. What should people expect from the new album? Will you be building on your last album?

Thanks, you as well! I am working on a new album. Just getting started, but things are going great.

It will be a bit of a different record for me. More original songs than before and also adding in drums and electric guitar along the way - both of which I haven't had on my records before.

Not necessarily a bluegrass album, but a reflection of me that I haven't yet been able to express musically. It will certainly be roots based nevertheless. I'm excited and I hope people will enjoy what we've been doing.

Q - You released your debut album, "Secrets," at age 16. How do you think your music has grown since then? What was it like releasing your first album when you were still in high school? What did your fellow classmates think?

Free Music Player for Myspace at ReverbNation.com

My music has grown, but naturally, I have grown as a person and I think that's the biggest thing.

Coming into being an adult and now having two records already behind me it feels like I am in more of a place to ask myself who I truly am and what I want to be.

I went to a really great school in Byrdstown , Tenn. - Pickett County High. My teachers and classmates were awesome!

I graduated with only 44 students, so it was a very small school and everyone really got along pretty well. I'm grateful to have been in that environment during that time in my life because everyone was so supportive.

Q - Alison Krauss is a big fan of your music. What was it like getting an invitation from her to perform at the Grand Ole Opry when you were only 11 years old? Do you think you lost out on any of your childhood because of all these opportunities?

I've been one of Alison's biggest fans since I first heard her music at 9 years old. I loved AKUS so much - used to draw pictures of myself playing on stage with them as a kid.

To get an invite to come play with her and the band on the Opry was my biggest dream come true ever! I'll never forget it.

I certainly don't feel as though I lost out on much because of my opportunities with music. If anything, I feel it made my childhood that much richer.

I found something I loved and was passionate about at 8 years old. It has forever changed my life and I'm so blessed as a result.

Q - What drew you to the mandolin in the first place? What advice would you give to budding mandolin players?

My dad bought a mandolin and was learning to play when I was little and I just thought it seemed like fun. My great uncle played mandolin as well, so it was an instrument I was around.

I think budding mandolinists just need to remember to have fun! If the fun is lost as a beginner, you'll never reach the point of being a disciplined musician.

I also find it super important to listen to lots of music and develop a good ear as early on as possible.

Q - Matt Glaser - head of Berklee’s American Roots Music Program - has said that you have no limitations as a musician. What's it like to get a compliment like that? Are you surprised at all that you've accomplished so far?

To get a compliment like that from anyone is always humbling. I certainly don't see myself in that same light.

I am surprised for sure that I've had all the opportunities that I have. As a kid, you don't know any better than to just accept them and be like "woohoo, this is awesome!"

As I get older, I really have a deeper appreciation of my blessings.

Q - What dream projects or collaborations do you have?

I really would LOVE to meet Dolly Parton. She just seems like an awesome person and I'd love to work with her!

I'm also a big big Bonnie Raitt fan - same deal, she just seems like an awesome lady! There really are too many people to name though that I admire and would love to work with!

British blues guitarist Bex Marshall coming to Chicago

2013-02-10T11:43:00.002-06:00

By ERIC SCHELKOPF

British female blues guitarist Bex Marshall continues to break down barriers in a male-dominated guitar world.

Marshall, www.bexmarshall.co.uk, has earned the distinction of being the first and only woman to be invited to perform at the Cork's International Guitar Festival. She will bring her acoustic steel-top resonator guitar on March 6 to Uncommon Ground, 1401 W. Devon Ave., Chicago.

The show starts at 8 p.m., and more information is at www.uncommonground.com.

I had the pleasure of talking to Marshall about her career.

Q - Great to talk to you. You're latest album, "House of Mercy," has received some good reviews. What were your goals for the album and do you think you achieved them? What made you want to self produce the album?

My goal was first to make a great album in its entirety...showcasing what I do of course, but while not being too precious about anything in particular.

I wanted to make the songs the best they could be, Bex Marshall style, and I think I achieved that. When I play the record it flows in my mind and the music production police in my head are quiet.

I wanted to be able to send across the feel, the vibe, and have the right sounds behind specific words or meanings. I wanted to play, create and manipulate a musical body of work to MY imaginative specifications and to be in control of the end result.

Many artists don't have that luxury (or wouldn't want it anyway), but I fancied a crack at it and was lucky enough to have the chance and get it right, for me.

Q - Your last album, "Kitchen Table," hit the Top 20 on U.S. Americana charts. Was that a surprise to you and did you feel any pressure in following up the album?

Yeah I guess it was a surprise, but the record was a slow burner and being an independent artist with my own record label, the timing around the release was slightly ajar.

But it still ended up doing well anyway, so yes I was pleasantly surprised. It was my first dip into releasing a record in America and was just going with the flow.

I always believe if something is good enough it will find its own value or place anyway, even if it takes 20 years. It's a bit like Ebay (ha ha). Whatever it is, in the end, it will find its real value.

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There is always a certain amount of pressure when recording a record, even if you do it in a couple of hours live, you can never really guarantee the outcome.

I do however, believe in going with your gut reactions and I did a lot of that on this record. Luckily, I had the pleasure of professionals working and contributing to the musical performance, engineering and mixing and that makes a big difference, but I oversaw every note.

The background stress of keeping your eye on the clock and pulling together the sounds and feeling that moment of 'YES,' now that's what I'm talking about feeling!!!

With the new technology, it's easy to get carried away and forget what you are trying to do sometimes, but on the other hand. you have a mighty weapon that can indulge you imagination to the max. You just gotta now when to reign it in sometimes!

Q - I understand you started playing guitar when you were 11 and you were first attracted to classical guitar, but eventually started playing country and the blues. What attracted you to country music and the blues?

Yes, when I look back at my early influences and what I naturally gravitated towards, it always had a bluesy vein running through it. I was lucky I had my Uncle Alex's record collection at my disposal and on the agreement that I always wiped the record with the black velvet cloth before and after and carefully lowered the arm on to the vinyl every time I had carte blanche to listen to it all.

He had all the classic blues/rock/Americana artists I still love today: there was Eric Clapton, Eagles, Leonard Skynyrd, Howlin' Wolf, early Tina Turner, Elkie Brooks, to The Rolling Stones, Pink Floyd and The Who, it just went on.

Q - What was it like busking on the streets? Did that experience help you grow as a musician and a performer?

Busking is a great thing to do, it reminds you that it's a big bad world out there, but you're here, believing in yourself and loving what you're doing. And it gives you a huge sense of, "I'M DOING MY TRUE MUSICAL CALLING AND ALL THESE COMMUTERS ARE NOT LIVING IN THE REAL WORLD."

It's a great way to get your music heard though, and the great thing is you hear so many feel good stories about buskers getting deals or gigs from busking. In London, you have to have a license to play on the streets or you get moved along, so you have to audition to get a license, which is a great way to expose your sound...

When I was in Australia about 15 years ago and really broke, I bought a balsa wood guitar, took it back to the youth hostel, drew aboriginal art all around it, cut the sound hole a bit bigger, and went on the streets alongside these masters of street entertainment, guys who could play outstanding guitar picking while playing the didgeridoo at the same time.

I sat down and watched and thought to myself, "I gotta raise my game." Busking is like paid rehearsal too, it's a great thing to do. Only a few weeks ago, I saw a picture of Huey from the Fun Loving Criminals sat in Carnaby Street busking with a beanie hat on and old raggedy outfit on.

Q - As a female slide guitarist, you probably get your fair share of comparisons to Bonnie Raitt. Are those comparisons flattering? Who are your biggest musical inspirations?

Well yes, I do get compared to Bonnie Raitt and Janis Joplin quite a bit but other artists too.As long as they get what I'm trying to do and get the songs and dig my record, I don't mind at all!!!

I always feel flattered, who wouldn't? But as the reviews keep coming, they are gradually hearing me in there too!!

Q - You have earned the distinction of being the first and only woman to be invited to perform at the Cork's International Guitar Festival. Do you consider that an honor and do you think you have broken down some barriers in doing so?

Yes for sure. I'm doing it again this year, that festival is probably the most fun you can have with your clothes on!

I love that part of Ireland, it's where my grandfather was born and when I took my mother there a few years ago, we found one of our really old relatives buried in the graveyard in Kinsale, not so far from there.

To me its so important to be in touch with your family tree and knowing my family came from there, it's just the coolest thing I could think of, the music that erupts from that part of the world on a daily basis is like hot musical roots lava.

Q - Do you feel that the guitar world is still dominated by men? If so, how do you turn that around?

This is a man's world....This IS a MAN'S WORLD.....but it don't mean nothin.....NOTHIN without a woman or a girl!!! XXX

Chicago singer-songwriter Jeff Brown releases new album

2013-02-03T08:34:00.000-06:00

By ERIC SCHELKOPF

Chicago musician Jeff Brown's achingly beautiful album "Last Chance" shows why the Chicago music scene is so vibrant.

Brown, www.jeffbrownmusic.com, will perform Feb. 15 at the Hard Rock Cafe, 63 West Ontario St., Chicago, as part of a CD release party. Matthew Morgan and the Lost Brigade, Tree and Little Light also are part of the bill.

The show starts at 8:30 p.m., and tickets are $10, available at www.hardrock.com.

I had the chance to talk to Brown about his new album, which features an appearance by well-known saxophonist Mars Williams.

Q - Great to be able to talk to you. It seems like you are always working on one project or another. How did you find the time to make "Last Chance?"

The entire process for making the album only lasted about a month, but between scheduling conflicts, work commitments, and a nasty respiratory infection that sidelined me for a month, that month was spread over the course of a year.

A lot of studio time was in the evenings and weekends. Fortunately enough, being in the studio with Ellis Clark (the album's producer) was more fun than work, and the recording itself was pretty painless.

Last Chance by Jeff Brown
Q - In making the album, what were your goals and do you think you achieved them?

This was the first time that I had the chance to bring an entire album of my own original music to light, so my biggest goal was to make an album that I was truly proud to show the world.

I wanted to make an album that I would listen to if I didn't have anything to do with it. More than that, I wanted an album, and not just a collection of songs - a piece of music that told a story and took listeners somewhere by the end.

I think that with all of the help of everyone who was a part of it, that goal was reached.

Q - How did you hook up with Mars Williams? Are you a fan of his band Liquid Soul, which recently celebrated its 20th year of making music? What do you think he brought to the song "Grace?"

Mars is a magician. He's friends with Ellis, the album's producer. As I was writing the song, I had it in my head that a saxophone would carry the feeling and sensuality that I wanted to present through the song.

I had a few friends in mind to help me, but after having seen Mars play with Ellis, I asked him if he might be available. It ended up working perfectly, and Mars came to the studio one afternoon.

I told him that it was in B-minor, and that it was the song that people would probably have sex to on my record. He told me, "I got it," and blazed through the song a few times.

We ended up using most of the first take. He nailed it.

I've been a fan of Liquid Soul and the Psychedelic Furs for a while, and having someone with his pedigree on my album is incredible. He made that song special.

Apart from the sheer elevation of the talent level, his playing gave a different feel from the rest of the album, but I think there is something in his playing that still connects with the rest of the album - his lines are very haunting and longing.

Q - Your band Goodbyehome plans to release a new album this spring. Do you view that band as your main project or are you concentrating more on your solo stuff these days? How do you choose what songs to do on your own and what songs to do with Goodbyehome?

Both bands are like children, and it not fair to either to say which is the main project and which isn't. I view them both similarly, and I've been fortunate in that they have both ebbed and flowed with their time demands in different patterns.

As far as creatively, they're both very different stylistically, so there has never been much of an issue with introducing my songs into the Goodbyehome set. Greg Combs has pretty much always been the principal songwriter for Goodbyehome, and that dynamic has always worked.

He's an exceptional songwriter, but very different. What I can say is that we've both been on the same bill before, and I'll likely never do that again.

It was a lot of work and energy to play two sets back to back and set up and tear down.

Q - Goodbyehome has toured with the likes of Bela Fleck, Dr. Dog and Edward Sharpe and the Magnetic Zeroes. What has that experience taught you?

I love touring, and I can't wait for the opportunity to do it again, but it is so much more work and stress than most people know - especially when you're doing it yourself.

At the end of the day, it's still being in a van and hotels for hours/days/weeks with the same people and their same quirks and personalities. And that is every bit as awesome and horrible as it sounds.

Touring teaches patience, preparedness, understanding, and that you have to be flexible when things go wrong. Because they will.

But it's still fun to share it with people who you share a musical vision with. And when it goes right, you share in that together.

And when it goes wrong, you have jokes and stories and scars for the rest of your lives. Touring also taught me the value of daily mandatory alone time...

Q - You are also a music industry lawyer. What are the biggest issues or challenges facing musicians today? Does the fact that musicians and listeners have a wide array of technology in their hands these days also present challenges, such as finding a way to make money when there is so much free music available online?

I think that the biggest issue with musicians today on a national scale is there aren't any more rules in the industry. The process used to be simple and mainly dictated by record labels and a few powerful people.

If you had the talent, people would find you and turn you into a star. You'd make a gold or platinum album, tour, develop a drug problem, a trophy wife or two, rehab, reunion tour, best-selling memoirs, and end up on a FOX reality show.

Now, anyone with $200 can buy a nice condenser microphone and a recorder, and they have an album that they can share with everyone in the world with a computer and an internet connection, which is both empowering and devastating. The industry is chaotic and open to everyone now.

The trick is to get yourself noticed above all the noise. Most people I know are still trying to figure that out. I know I am. As far as the monetization of music, I'm still hopeful and possibly foolish that there are people who still believe in the value of compensating creativity.

But honestly, I make music because it makes me happy. If someone wants to pay me for it, I'm going to let them, but if I were in this business for the money and the women, I would have stopped 20 years ago when I realized that I was still poor and single.

I think the people who make music regardless of whether or not they'll make money will always do it. People who don't will stop if it doesn't work.

Q - It seems like there is a high level of interest in folk and roots music both locally and on a national level. Why do you think that is? You've taken on many different genres of music over the years. What is your favorite genre?

There is something about folk music that will always resonate with people, and I think that the more the world screams towards technology and perfection and computer-generated music and electronica and dubstep (which I will whole heartedly admit to enjoying), the more we will enjoy how it feels return to a guy sitting on the porch with a piece of wood making music about how it feels to be alive.

There is something satisfying about listening to an acoustic guitar or violin or banjo that you can't get from a guy manipulating sounds and beats on a computer, and never will. I think that's why I ended up doing just that.

I loved playing heavy metal and trip hop and every other style that I've been involved in - but there is something that's wholesome and real that I love about writing and performing songs with an acoustic guitar.

Q - How do you think the Chicago music scene compares to other music scenes around the country? How do you see yourself fitting into the Chicago music scene?

Chicago is a tough city to be a musician in. We're a sports town.

We have seven months of winter. The same five cover bands play every festival in existence.

People are apathetic and would rather go to a baseball game or stay at home with "Game of Thrones" or Netflix or drink with their friends than listen to that guy singing about feelings. But the thing I love about this scene is that we are all in it together.

When you go to local shows, a lot of the audience is other members of the music scene. We support each other - we build each other up.

We know that we're what we have when our friends get tired of us asking them to come see our band. We form alliances with other acts to help us do better, like the Chicago Roots Collective, or the Chicago Acoustic Underground.

And it's small, despite being a big city. A friend of mine lovingly referred to me once as the Kevin Bacon of Chicago music, since it seems that you can't go more than a few musicians without running into someone who knows me.

It's flattering, and probably a bit true, considering that I've been involved in so many aspects of so many different parts of the industry for the past 16 years.

Ultimately though, I see myself as just the same guy as everyone else who's a part of the Chicago music scene trying to do the same thing - get my music heard.

Indie pop band Donora bringing sunny side to Chicago

2013-01-31T22:43:00.000-06:00

By ERIC SCHELKOPF

Fronted by the spunky vocals of Casey Hanner, Pittsburgh-based indie pop band Donora has just released an album that is bound to get anyone in the mood for warmer days ahead - the sunny but not too sweet EP "Play Nice."

Comprised of Casey on vocals and guitar, her brother, Jake Hanner, on drums and bassist Jake Churton, Donora, www.donoramusic.com, will perform Feb. 7 at The Empty Bottle, 1035 N. Western Ave., Chicago.

TeamMate and Warm Ones are also on the bill. The show starts at 9:30 p.m. and tickets are $8, available at www.ticketweb.com.

I had the chance to talk to the members of Donora about the new EP.

Q - I understand that you came up with the band's name after seeing a road sign for Donora, Penn. What was it like to actually play there?

We were asked to play on the Donora-Webster bridge for the 100th anniversary celebration of the bridge. That was our first experience in Donora, and we were all for it!

However, it was snowing so hard that day, that the celebrations were moved into a firehall on the Webster side of the bridge. So technically, we've never actually played in the town of Donora! Ha ha.

Q - Of course, your new EP was just released. In sitting down to make the record, what were your goals and do you think you achieved them?

The inspiration for this EP came from a photograph Jake H took in downtown Pittsburgh. He was walking around taking pictures and came across this amazing piece of artwork someone had created on the wall of a construction site.

The artist made this keyboard out of plywood, glued it to the wall, and spray painted the words "Play Nice" underneath. We hung this photo on the wall of the studio when we started working on the new EP.

Our goal was to make an EP that sounded like that photo. We wanted to make something really cohesive, and we kept referring back to that photo. I think we managed to achieve that.

Q - Your music has been described as "New Wave." Do you think that is an accurate description? How would you describe your sound and who are your biggest musical influences?

I think that's accurate to a certain degree. We have definitely been inspired by some 80's music like The Cars and Billy Idol, but we try not to be too derivative.

There are also other influences that creep into our music, from late 50's girl group pop (like Brenda Lee) to current pop (like Robyn) and even some old Walt Disney whimsical sounds (like the original Sleeping Beauty score).

Q - Your music has been used in various projects, including TV shows and a movie. Do you see that as just another way to get exposure for your music? How do you think your music fit into those projects?

It's definitely great exposure for us, and I think our music lends itself to these projects well.

Our music is happy and upbeat, but it's also meant to make you feel something. And I think that aspect of the music is appealing to music supervisors.

These days placements are also a great way to fund other projects. Commercial placements allow us to keep focusing on writing new material and touring.

Q - What are the pros and cons of siblings playing together in a band? Would you recommend it?

When you play with your sibling, I think you can communicate better. You both come from the same place and upbringing, so it's easy to be on the same page.

There may be annoyances or silly sibling arguments that come up, but at the end of the day, you're family. I definitely recommend it, as long as you let family be the most important thing!

Q - Your dad, Dave Hanner, has had a successful music career. What kind of influence did he have on you and what kind of advice has he given you?

We grew up around music, but our dad never pushed music on us. In fact, I think it was the opposite.

When I (Casey) wanted to learn how to play guitar, instead of teaching me himself, my dad gave me a guitar chord book and told me that if I really wanted to learn, I would learn on my own.

My brother (Jake H) learned so much from my dad about recording music. Any time we have a question for him, he's always ready to help out or give his opinion. Sometimes we ignore his advice, but he usually ends up being right in the end!

Q - What are the advantages of being signed to an independent record label? With all the resources available to musicians these days, do you think it is easier to be a musician than it has been in the past?

Working with Rostrum had been great. We personally know each employee and have a great relationship with everyone involved.

We consider the head of the label (Benjy) to be a great friend and supporter of our music. That may seem normal, but I think it's a very rare thing these days.

Making music, playing music, recording music, and promoting music has all gotten easier. However, that means there are a lot more bands out there trying to make it work.

Q - What are the band's short-term and long-term goals?

Our short-term goals are to promote the new EP and get back into the studio for a follow up. I think the long-term goal for any band in our position is to be able to sustain a living by making music.

Specifically for our band, we want to make people happy with our music. We want to encourage one person dance parties all across the world!

Chicago musician Andrea Dawn touring on new album

2013-01-31T12:55:00.000-06:00

Garnering comparisons to Jewel and Fiona Apple, Chicago musician Andrea Dawn will bring her hypnotic vocals on Feb. 1 to the newly opened Rivers Edge Theatre in downtown Yorkville, www.riversedgetheatre.com.

The show starts at 8 p.m. will also feature local songwriters Ben Thomas and Pat Moynihan. Tickets are $10 and can be purchased at the door.

In 2008, Dawn was voted one of Illinois Entertainer's "Best of Around Hear," and in 2009 she won the grand prize for Backthird Audio's Songwriter Showcase. For more information, go to facebook.com/andreadawnmusic.

Benefit show set for blues musician Eddie C. Campbell

2013-01-27T07:29:00.000-06:00

The tight-knit Chicago blues community will come out in force Feb. 17 to raise funds for fellow Chicago bluesman Eddie C. Campbell, who suffered a stroke and heart attack while recently touring in Germany.

The benefit show will be from 6 to 11 p.m. at Rosa's Lounge, 3420 W. Armitage Ave., Chicago. Tickets are $25, available at www.rosaslounge.com.