the total scene

Chicago band Archie Powell and the Exports releasing new album of well-crafted pop songs

2012-02-26T06:09:00.001-08:00

By ERIC SCHELKOPF

Chicago musician Archie Powell's well-crafted pop songs give one hope that the art of songwriting is not dead.

Powell and his band the Exports, www.archiepowell.com, on May 1 will release their second full-length album, "Great Ideas in Action." Hopefully they will give people a sneak preview of the album when they play March 3 at Township, 2200 N. California Ave., Chicago.

Rodeo Ruby Love and The Noise FM also are on the bill. The show starts at 10 p.m. and tickets are $5, available at www.ticketweb.com.

I had the chance to talk to Powell about the album and the impact he has been making on the Chicago music scene.

Q - "Great Ideas in Action" is your second full-length album. In sitting down to make the album, what goals did you have in mind? Did you achieve them?

Essentially I was going for a sound that was more akin to how we come across at a live show. That ultimately meant giving ourselves a country-ectomy and upping the feedback.

Q - What constitutes a good pop song?

Is it dynamic? Is it memorable? Most importantly, is it honest?

&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://archiepowell.bandcamp.com/album/skip-work"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Skip Work by Archie Powell &amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp; The Exports&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;Q - What were your reasons for moving from Madison, Wis., to Chicago? What have you discovered about the Chicago music scene since moving here?

Ultimately it was about getting a change in scenery. The Chicago music scene has been very kind to us.

It's a big pond with a lot of fish, but if you stick around long enough you'll find the right folks to tag along with. I love it here.

Q - Did you write the songs for the new album collaboratively with the band? How does that process work?

I write all of the songs in my bedroom before I show them to the band. Essentially I bring them a plain cheese pizza and they make it better by putting a bunch of actual toppings on it.

Q - Given the new technology available to bands these days, do you think being a musician these days is harder or easier? How have you tried to tap into that technology?

As far as the Internet is concerned, the whole thing can be a bit of a double edged sword. On one hand it's very easy to get your material out there for public consumption.

On the other hand, everyone else knows how to do this as well. You've got a lot of white noise to fight through out there.

Q - Are you and the rest of the band still juggling making music with day/night jobs? Did you write "Job Fair" out of empathy for those looking for work?

We all work to support ourselves and the band. I'm not exactly looking for a "career" job, so to speak, but the song speaks to the bullshit a lot of my peers are going through at this point in time.

Q - Given that your dad is a musician, was it a given that you would also become a musician? How much influence has your dad had in your musical career?

My Dad was always incredibly supportive of my ridiculous fantasy lifestyle. I couldn't have asked for more.

On one hand you might be able to say that I've "got the genes" for this line of work, but if I hadn't been nurtured to do it I'd probably be doing something else entirely right now.

He passed away last November, the album is dedicated in his memory. A true legend of the game.

Q - Your songs have drawn much critical praise. How important is that to you? What are your goals as a musician?

I write songs for my own fulfillment. I'd be lying if I told you I didn't enjoy the validation that comes from third party praise, but that's ultimately just a bonus.

I don't put out anything I can't stand behind. If you like it too, then that's lovely news.

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

Short term - get this damn record out. Long term - get more damn records out. As long as the music's still good.

Evanston musician Howard Levy celebrating Grammy win, coming to Chicago area with the rest of Bela Fleck and The Flecktones

2012-02-25T06:13:00.004-08:00

Credit: Jeremy Cowart

By ERIC SCHELKOPF

Evanston resident Howard Levy is already acknowledged as one of the world's most innovative harmonica players.

He was honored by his peers again when he recently received his second Grammy, this one for "Life in Eleven," a song he co-wrote with Bela Fleck that is featured on the Flecktones 2011 release, "Rocket Science."

To say that Levy is is demand is an understatement. He has appeared on hundreds of albums and has worked with the likes of Dolly Parton, Paul Simon and Donald Fagen.

The original lineup of Bela Fleck and The Flecktones - Levy, Fleck, Victor Wooten and Futureman - will perform at 8 p.m. March 2 at the North Shore Center for the Performing Arts, 9501 Skokie Boulevard, Skokie. The band will also perform at 8 p.m. March 3 at North Central College's Wentz Hall, 171 E. Chicago Ave., Naperville.

Tickets to the Skokie show range from $38 to $68, available at www.northshorecenter.org. Tickets to the Naperville show range from $70 to $80, available at www.northcentralcollege.edu.

I had the chance to interview Levy about his Grammy win as well as a number of other topics.

Q - Congratulations on your recent Grammy win. Was this Grammy award more satisfying than the first one, and the fact that "Rocket Science" was the first release in 20 years with the original band lineup?

Thanks. Winning the first one was kind of a shock- a great shock- because it was totally unexpected. It was for a live performance of "The Sinister Minister" that I played on four years after I quit the band.

It was a Grammy for Instrumental Performance that went to the whole band. We were all there together in NY at the Grammy ceremony and got up on stage together.

This time, the nomination was for Bela and me for co-writing "Life in Eleven". Neither of us went to the ceremony. So it was very different. But it felt GREAT to win, especially for something that I co-composed.

This is a real honor and means more in that way. And we never could have won it without Vic and Roy playing on it.

Q - What should people expect from the tour? Will the band be giving audiences a taste of what it has done over the years?

We played 90 shows last year and will continue to play a blend of some of the older material from our first three albums and a lot of the music from "Rocket Science," along with solo pieces by all four of us scattered through the show.

Q - You toured with the band in 2010 for the first time in 18 years. Did it take time to feel comfortable with the band again or was the process fairly easy?

Well, first I did a three week tour in late 2010. I agreed to do it because it had a beginning and an end.

It felt great at the first rehearsal. A lot of the old excitement came back. As a result of that, I agreed to record a CD and tour for a year.

Recording the CD was a lot of very hard work - co- writing, tossing ideas back and forth online, traveling back and forth to Nashville, and finally recording for more than three weeks.

When we started touring, we had to really learn or re-learn all this music. It took a little while, but the band chemistry was there onstage from the first show.

Q - Of course, you co-founded the band. What goals did you have in helping form the band and do you think the band has lived up to its goals?

We started it together at a TV show in Louisville, KY in 1988. The main thing was that everyone was open to trying just about anything, centered mostly around Bela's compositions, which were very adventurous and varied.

And each of us had plenty of chances to play solos, and be featured prominently. But it was extremely full- time and the traveling was hard.

As time went on, I needed to go back to playing more of my own music and having more musical variety in my life, two of the main reasons why I left. But now that I've done that, coming back feels very good.

Everyone has matured a lot musically and personally. We play more of my music and Vic's music, and we are still exploring the edges of what we can play, pushing each other to reach new levels. And we all get along with each other very well
.

Q - What kind of satisfaction do you get through your music workshops and your online harmonica classes? What's the number one quality you need in learning how to play harmonica?

I am very proud of my online harmonica school, the Howard Levy Harmonica School. I have recorded hundreds of lessons in just about every style and level of playing.

Members can also send me videos of their playing. I send a video response, and the 2 are paired together as a master class that everyone can view and learn from.

This website is set up for maximum learning and enjoyment. I have performances, tracks to play with, interviews with harmonica players and other musicians (there is one with Bela), discussion forums, and a chat.

I am really proud of it and give major kudos to Artist Works for persuading me to do this.

I'd say the number one quality you need for playing harmonica is perseverance. The instrument is invisible, and many of the standard techniques that you need to play even simple blues licks can't be learned the way you can learn on guitar, piano, saxophone.

Perseverance, concentration, faith, devotion, love for the instrument. And if you have those, the harmonica will reward you richly.

Q - You've worked with so many artists, including the likes of Dolly Parton and Paul Simon. Is it always an honor when such an artist wants to work with you? Do you learn from the artists you work with?

Oh yes. Each time I play as a sideman on a recording, with famous or unknown artists, if they have good quality music that they ask me to play on, I think I always learn something and feel good about being a part of something artistic.

Of adding my voice or just even some simple parts to someone else's music that make it sound better. And sometimes these collaborations pull things out of me that would never happen otherwise, too.

Dolly was a total sweetheart. She cooked me lunch first, and after I played she stood behind me with her hand on my shoulder as we listened to playbacks in the booth, and was highly complimentary and insightful in a sincere and heartfelt way about my playing.

I felt that she looked right into my soul and interacted with me on that level. It was a beautiful experience and I felt like I was walking on a little cloud for several hours afterwards.

Paul Simon - he is very demanding and looking for that little indefinable something that will influence the sound of a track and set off a stream of consciousness in his mind. He is very complex, in the moment, spontaneous yet calculating - trying to find the alchemy in the music that makes it feel like it's coming from inside him.

Donald Fagen was a total blast to play for. We had a great time hanging out and talking about John Coltrane after I played. And it turned out that both of us went a lot to The Village Vanguard as teenagers and bought our jazz LP's at the same record store in The Village (I grew up in NY).

He also had me sit in with him three times when he came to Chicago with his own band and with Steely Dan - these were true musical highlights.

Q - Your harmonica playing has been featured in several movies. What do you think it is about the way you play your harmonica that makes it fit well in movies?

I am proud of playing on some of those soundtracks, especially "A Family Thing" with James Earl Jones and Robert Duvall. I love playing with actors, dancers, any non- musical performers. I have done a lot of that, so playing with movies is a very natural thing for me to do, to take a basic melody and play it in a way that meshes with the action on the screen or the dialog.

Playing for "A Family Thing", they gave us each monitor screens so we could see and interact with the film. I love working like this. And the composer knew my capabilities, wrote things specially for me and encouraged me to be expressive.

I think of the harmonica as a voice, so sometimes it's like having a conversation with the characters or commenting on the action. And sometimes it's just playing the ink! But feel - that's the thing - I always try to play with feel.

Q - It seems as though you are always busy with one project or another. Has your Balkan Samba Records label lived up to your expectations? Will you be signing more artists to the label in the future?

Ah, Balkan Samba! That's my baby. It's mostly for my own projects, or for friends of mine who I collaborate with. My solos CD "Alone and Together" made the Downbeat list of best jazz CD's in 2010.

I am very proud of that. I have put out 6 CD's and a DVD so far. The material ranges from jazz to blues to classical to Latin and more. In the pipeline is a release of a collaboration with guitarist singer/songwriter John Guth.

We played together in the early 1970's in Chicago, and reunited to record a bunch of his music a few years ago. It's unique stuff.

Q - Do you have any dream collaborations or projects?

I would love to record my Latin Jazz Suite "Recuerdos de Nueva Yorque". We performed it with 12 musicians (Chevere and three additional horns) last summer in Millennium Park and the crowd went crazy.

I also am composing more pieces for harmonica and orchestra to follow up my concerto, and have started to write a suite for harmonica and jazz orchestra. I'd also like to record a CD of jazz tunes I wrote when I was 19 and 20 (mostly piano) and another jazz CD collaborating with great jazz musicians (mostly on harmonica).

Singer-songwriter Ruth Moody bringing award-winning sound to Elgin Community College

2012-02-23T09:09:00.001-08:00

By ERIC SCHELKOPF

When she is not captivating audiences as part of renowned folk group The Wailin' Jennys, Ruth Moody is making beautiful music on her own.

Moody will perform at 8 p.m. Feb. 24 and 25 in the SecondSpace Theatre at Elgin Community College, 1700 Spartan Drive, Elgin.

Tickets are $20/$25. More information is at www.ruthmoody.com.

I had the chance to talk to Moody about the tour and her other activities.

Q - How has the tour been going? What do you like about performing solo versus with The Wailin' Jennys? What additional challenges are there?

I love both a lot...obviously the main difference is that I'm fronting this show on my own. It takes a different kind of focus and energy to be the leader in that way.

That has been a really good challenge for me - anything like that forces you to draw on new and different aspects of yourself. You realize that you have abilities that perhaps you didn't think you had because you never had to draw on them before.

Of course, I love performing with the Jennys as well - that collaborative experience is so much fun. I have that more and more with the boys too now, which is great.

This tour has been going amazingly well. I feel so lucky to be doing what I'm doing. It's been hard work - I've been on the road for almost 5 months now. But I feel like I'm growing so much as a musician and performer, and that feels so rewarding.

Q - You grew up in a musical family. Was it inevitable that you would have a career in music? What do you think drew you to Irish and Scottish music, and then folk music?

Hard to say...I suppose it might have been inevitable...given that my brother and one of my sisters are professional musicians too.

My other sister is a doctor - she was probably the smart one...ha ha. My mother, who is a music teacher, is this incredible force of nature. We all grew up listening and singing and playing...it was such a normal part of life.

I studied classical voice starting in my early teens but somewhere in there I learned some Irish and Scottish folk songs and realized that that style of music really suited my voice, and also really resonated with me emotionally and spiritually.

From that point on I just starting building up a repertoire of folk and traditional songs. Around the same time I went to the Winnipeg Folk Festival for the first time and was exposed to all kinds of traditional music...as well as a lot of contemporary singer-songwriters. That changed my life.

Q - What goals did you have in sitting down to make "The Garden?" Did you intentionally want it to sound different from what you've done with The Wailin' Jennys?

I don't think so - whenever I record I basically just want to be true to the songs. The garden became what it is fairly organically - with the help of some brilliant musicians and of course the care of my amazing producer, David Travers-Smith.

Q - It's been a couple of years since that album came out. Are you working on new songs and are you playing them on this tour?

Yes! We're playing new songs and it's been really exciting. I think it's fun for the guys to come up with parts on songs that haven't been recorded before.

It's nice to be in that stage now - getting to explore new creative ideas with each other. I'm definitely starting to think about recording a new record....not sure when it will happen exactly but I'll likely record some demos in the next couple of months and take it from there.

Q - In forming The Wailin' Jennys, what were your goals? What do you think makes the band work? Did you ever think the band would be received so well, by both critics and the public alike?

We didn't really have any goals! We talked about doing one show together, the three of us original founding members (Nicky, Cara and I) just to have some fun and sing on each others' songs.

I grew up singing with my two sisters and when my band at the time, Scruj MacDuhk, broke up, I decided I wanted to sing with women again. The female 3-part harmony thing was really calling me.

I knew Nicky and Cara were great singers so I asked if they'd be into doing some jamming and putting on a show. That show sold out quickly, so we added another one. The second show sold out and we started to get the feeling that we might have stumbled on something special.

Which we had, in terms of the musical chemistry and the vocal blend. We got really lucky there - and have always gotten lucky in that regard.

It's evolved and blossomed every step of the way with our different incarnations, and we've all grown as singers, but we've always had a good vocal blend and that has been key. I think the other thing that makes the band work is that Nicky and I have always had a similar work ethic, right from the beginning.

You might even say we are both workaholics - we don't stop until the work is finished. Which can be to our detriment if we don't take care to stay balanced and take time off. But we really 'get' each other in that way, and know we can count on each other when there is work to be done.

We are really different too, but we complement each other, strengths-wise, I think. And Heather fits in so beautifully - personality-wise and musically. We knew she was a kindred spirit the minute we met her.

Q - The Wailin' Jennys in 2010 performed as part of a tribute concert to Bruce Cockburn. Was that an especially high honor for you, especially since he is from Canada? What do you come away with when you perform with legendary performers like him?

It's an incredible honor. There is nothing like it. You try and enjoy the moment but usually the whole time you're thinking, 'I can't believe this is happening'.

Especially with someone like Bruce, whose songs we grew up with, and who is such an incredible writer, player and singer, and who is such a special human being on top of that. It is a thrill and an honor.

Q - What's on the horizon for both you and The Wailin' Jennys?

The Jennys are taking time off the road right now, so that we all have time to do other things and/or spend some time at home, with our families. Every time we've done this we've come back recharged and ready to get creative with each other again.

I'm about to wrap up this tour and pretty soon I'll have a month at home in Winnipeg. I can hardly believe it. I have some exciting things coming up though, lots of festivals over the summer, so I'll be back on the road soon enough.

Q - Do you have any dream collaborations, either on your own or with The Wailin' Jennys?

I feel like I just experienced my dream collaboration. I was lucky enough to be on this amazing tour called the Transatlantic Sessions, as part of Celtic Connections in Glasgow.

The 'house band' included Jerry Douglas, Ally Bain, Phil Cunningham, Tim O'Brien, Bruce Molsky, John Doyle, John McCusker, Mike McGoldrick, and many more. Some of my favorite musicians of all time.

It was very surreal. Eddie Reader, who was also on the tour, described the band as 'God's band', which was an apt description. Anyway, being able to collaborate with those folks was such an honor, and an experience I'll never forget.

Aside from that, I have a number of friends that I've talked to recently about doing some recording when our schedules allow - and I'm looking forward to having a chance to follow up on that. But I can't name names because I don't want to spoil the surprise!

Boston band The Del Fuegos full of energy these days, will perform in Chicago area this month

2012-02-17T06:49:00.000-08:00

By ERIC SCHELKOPF

After playing together last year for the first time in 21 years, Boston band The Del Fuegos are now acting like they never broke up.

The Del Fuegos next week will release an eight song EP, "Silver Star," and embark on a U.S. tour that takes them to Lincoln Hall, 2424 N. Lincoln Ave., Chicago, on Feb. 25. Hollow also is on the bill.

The show starts at 9 p.m., and advance tickets are $20, $25 at the door, available at www.lincolnhallchicago.com. On Feb. 26, The Del Fuegos will perform at 8 p.m. at S.P.A.C.E., 1245 Chicago Ave., Evanston.

Tickets range in price from $22 to $40, available at www.evanstonspace.com.

Formed by brothers Dan and Warren Zanes, The Del Fuegos stormed through the '80s with hits like "Don't Run Wild" and "I Still Want You." The tour will feature the band's original lineup, which also includes bassist Tom Lloyd and drummer Woody Giessmann.

I had the chance to talk to Warren Zanes about The Del Fuegos' latest activities.

Q - What was it about last year's reunion shows that made you want to do a 11-city tour?

Really, we were encouraged by the feeling in our guts and, possibly, groins. It was that rock and roll thing, still working on us. Of course, we all have jobs, kids, families, love lives, and various matters to attend to, so we can't go out for too long.

But we found a little window of opportunity and wanted to see what kind of trouble we could make for each other and the folks along the way.

Q - There seems to be a lot of good buzz about the tour. What are your expectations for the tour?

It took a while, but we finally got ourselves out of the expectations business. That's a dangerous business. When you're young and putting out records, you get into dreaming about what might happen.

With every release you're thinking maybe this one will break your band at a higher level. Fair enough - but it can get in the way of the music.

This time around we're not asking the music to change our lives. We just want to feel that feeling of playing in a band. And we're playing better than ever. It's a simple affair. And it suits the music.

Q - You guys just recorded eight new songs. How was the process?

I've never cut tracks this fast. We recorded for three days. No room for second guessing yourself. No room for self-indulgent musings, you know?

A great guy named Rob Friedman helped us stay on course and make good choices. And, frankly, next to falling in love or watching your kids shine, cutting tracks is about as much deep fun as a man can have.

Dan gave me some room to bring in songs, which felt like a really nice change and a soulful gesture. Overall, the machine started without having to change the oil.

Q - In forming the band the first around, what were your goals? Did you achieve most of them?

Speaking for Dan and Tom, who started the band, I think the goal was primal: sex and rhythm. And the meeting of those two things. Nothing changes since Elvis came along.

Q - Your relationship with your brother has been described as "fractious." How is your relationship these days? Do you think healthy competition is good, especially when being in a band together?

Hmmm. It's great being in a band with a brother. It kicks off a particular energy that really works in the rock and roll territory.

And it's awfully hard being in a band with a brother. Sometimes fratricide seems like a reasonable option. When I went off to get my doctorate and start teaching, it helped that we were in different territories. We weren't competing to see who the undergraduates liked better.

But time passes, and we're both involved in music, and we're really seeing that if we weren't brothers, we'd probably be best friends.

Q - What's the future of The Del Fuegos after this tour is over?

That one can't be answered. We certainly never thought we'd be heading out on a tour.

But here we are. It's better to sit back, ask no questions, and watch where life takes you.

As had been said, "If you want to give God a laugh, tell him your plans."

Chicago band The Sometimes Family bringing soulful sound to scene

2012-02-14T07:42:00.000-08:00

By ERIC SCHELKOPF

Although Chicago band The Sometimes Family might not be a family in the strict sense of the world, the band's seamless blend of soul and R&B invites comparisons to such family bands as The Staple Singers and The Jackson 5.

On Feb.16, The Sometimes Family, www.thesometimesfamily.com, will bring its soulful sound to the Darkroom, 2210 W. Chicago Ave., Chicago. The show starts at 10 p.m.

The Sometimes Family also will perform at 9 p.m. March 12 at Cole's Bar, 2338 N. Milwaukee Ave., Chicago.

I had the chance to talk to frontwoman Rebecca Sometimes Gurga about the band and its music.

Q- The band's music has been described in various ways. How would you describe your music? Who are your main influences?

What sets the Sometimes Family apart from other groups in this new soul era is our aim to bring back the vocally-driven tune, the collaborative, harmonic group sound. Drawing inspiration from a variety of soul sources, including the Fifth Dimension, the Staples Singers, the Jackson 5 and the Friends of Distinction, we write our songs with the whole family in mind.

The Sometimes Family fuses a bluesy, soulful language with vocally driven melodies. Bass and drum grooves, rhythmic organ, and sweet flute lines seal the deal to an incredible listening experience. Our music tickles your limbs and sets them in motion.

Q - How did the band get together? Is there a meaning behind the band's name?

Steve Schuster (bass) and I were in another band previous to the Sometimes Family, and when we decided to put together a soul band, for some reason instead of horns we thought flute.

I think I wanted to start small, but in the end we realize that we don't need horns - everybody has horns. We met our other three members when we put ads on Craigslist (one at a time).

I had the name Rebecca Sometimes as a stage name and we thought it would be catchy to call us the Sometimes Family. It inspired images of old time funky soul bands, like Sly and the Family Stone, Kool and the Gang, KC and the Sunshine Band, the Jackson 5, the Friends of Distinction.

Q - For those not familiar with the band, what should people expect from your live show?

People not familiar with our set can expect a lively show reminiscent of the late '60s and early '70s, a little bit funky, and vocally driven arrangements. It's super fun to see the Sometimes Family live.

Q - What are the band's goals for this year?

We are finishing up an album (due out this spring), and we'll be going on our first tour this July.

Q - How do you think The Sometimes Family fits into the Chicago music scene? What do you think the band adds to the scene?

The Sometimes Family has a bit of an underground presence in the Chicago music scene, which is to say that still, no one has ever heard of us. But we get a big response from our audience.

We play often and try to connect with other lovers of soul music and other soul bands. We are very different from your typical soul band in that we don't have horns and instead try to fill out the horn parts with vocals.

My goal as a writer and leader is to establish our soul sound authentically without the obvious choice of horns. I also like to write songs as if I were living in that era, trying to imagine what the issues were of the day and include songs about social justice.

I study the black experience of the '60s and '70s and the civil rights movement in order to respect and understand the experiences of my soul forebearers.

Also, to add, we have a family dynamic. Our band is very close and aside from our drummer, Phil Merker, we live with each other. We hang out with one another and though life isn't always perfect, we find a way to persevere, just like family.

Chicago band The Teflons mix it up in entertaining fashion

2012-02-07T06:17:00.000-08:00

By ERIC SCHELKOPF

Chicago band The Teflons seamlessly blend such divergent styles as country, doo-wop and Hawaiian music to create a sound that is both original and entertaining.

The Teflons, www.silverbeammusic.com, will perform with the equally entertaining Chicago string band Sunnyside Up on Feb.19 as part of the 5th annual After Brunch Bash and Barn Dance at FitzGerald's, 6615 Roosevelt Road, Berwyn.

The show starts at 1 p.m., and tickets are $12 for adults and $2 for children 12 and under, available at www.fitzgeraldsnightclub.com.

Teflons singer Barb Silverman juggles being a member of the band with a variety of other activities, including being a music teacher. I had the chance to talk to Silverman about the band and her other activities.

Q - You both play and teach music. Which is more satisfying? Do you hope that those who participate in your workshops at Old Town School of Folk Music will help carry on the tradition of folk music?

It’s apples and oranges, equally delicious.There’s the gratification of seeing a student, adult or child, suddenly able to hit a note, play a chord, shuffle a dance step that they couldn’t do before, and see the light in their eyes when it happens.

And there’s the mystery and joy of feeling your own skill and internal effort cycled right back to you in mid-performance by fellow musicians and audience. This very synergy is the folk music tradition in action, and I trust all involved will carry the torch forward.

Q - The Teflons combine a mix of musical styles. What do you think makes it work? What was the idea behind the band?

Five female friends, all of whom have eclectic taste in traditional and roots music, got together and started harmonizing in Val’s living room and created a doo wop type of sound back 12 years ago. In time we added my guitar and washboard, Gail’s banjo-uke and bass, Eugenia’s flute, and men!

Rick’s vast fiddling experience with Rocky Stone and Patsy Montana, Keith’s stunning dobro, Colby’s masterful mandolin, Brian’s effortless bass all make it work. And the wide swath of swing, blues and country that we dip our fingers into.

As for our name, I was thinking of Tupperware but was afraid of cease and desist orders, so we went with The Teflons. Nothing sticks and no messy clean-up.

Q - You've had the opportunity to perform on "Prairie Home Companion." Did it live up to your expectations?

It was exciting to be on the show three times. Garrison is a quirky and brilliant man, the theatre was packed to the gills each time, and people were listening all over the country, even my mom and dad.

I remember when Garrison asked our mandolin player Stuart how he felt being on the show, he quipped, “I told my mom I was going to be on national radio, and she said, Get A Haircut.”

Q - What's happening with the Laketown Buskers these days? Can we expect any new songs from them in the near future?

Three of the original Laketown Buskers are now in my award-winning Schticklers Jug Band (2010 Champs), another performs nationally in the Café Accordion Orchestra, and one is fiddling and house-building on the East Coast. I don’t see a recording coming up soon for the Buskers, but possibly yes for the Schticklers.

Q - What was the idea behind creating Life Story Theatre and the White Crane Players? Has the project met with more success than you imagined?

I had always loved performing for elder audiences because invariably I would hear a gem of a story connected with some song I sang.

I had the brainstorm of getting grant money to record and perform some of these stories, or better yet, to have the story-tellers themselves perform their own stories, with a few vintage songs connecting them together into a mosaic.

Thus were Life Story Theatre and the White Crane Players born. I never dreamed funding would run from the city of Chicago to the Rothschild Foundation and that the project would grow and mutate to over twenty years of performance.

Q - Do you have any dream collaborations or dream projects?

That my career can continue is a bit of a dream come true, teaching and performing what I love. Dream collaboration? That the After Brunch Bash be presented at the White House, clogging included.

Mavis Staples will headline this year's Chicago Blues Fest

2012-02-02T12:10:00.000-08:00

Chicago's own Mavis Staples will headline the 29th annual Chicago Blues Festival, which will run June 8 to 10 in Grant Park

Other headliners include Texas Johnny Brown on June 8 and Floyd Taylor on June 9. Staples will close the festival on June 10.

More than 60 years after she began singing with her ground-breaking family group, the Staple Singers, she is more popular than ever. In 2011, Mavis Staples won the Grammy for “Best Americana Album for "You Are Not Alone," produced by fellow Chicagoan, Jeff Tweedy of Wilco.

At the Petrillo Music Shell, on June 8, blues fans will be treated to a centennial celebration of Lightnin’ Hopkins. A renowned Texas blues guitarist from Houston, Hopkins died in 1982. Fellow Houston bluesman Texas Johnny Brown headlines with his unique, soulful guitar sound. Texas natives, Reverend KM Williams, Milton Hopkins (Lightnin’ Hopkins cousin) and Jewel Brown open the evening’s salute to an iconic artist.

Floyd Taylor headlines the Petrillo Music Shell on June 9. Born in Chicago, Taylor is the son of soul and R&B legend Johnnie Taylor. He spent many years learning from his father, shaping his talent as a “soul man” in his own right. With his father’s death in 2000, the torch was passed.

Not to be forgotten, the Petrillo will open on Saturday with a special tribute to “Honeyboy” by Paul Kaye. Kaye toured and performed with David “Honeyboy” Edwards up until his death in 2011. Edwards was the last of the Delta Bluesmen and the last direct link to Robert Johnston.

Following the tribute to “Honeyboy" is Muddy Waters Disciples; Pinetop Perkins, Willie Big Eyes Smith and Mojo Buford will be remembered on the Petrillo stage in a set featuring: Muddy Water’s son, Mud Morganfield; Willie Big Eyes Smith’s son, Kenny Smith; Bob Margolin, Barrelhouse Chuck, Lil Frank and Bob Stroger.

Women have their day on June 10 with all female performers at the Petrillo Music Shell. Prior to Staples taking the stage, festival goers will be treated to a tribute to the Queen of the Blues, Koko Taylor, who died in June of 2009. Koko will be remembered in a special performance on Sunday night by a select group of blues women featuring Melvia “Chick” Rodgers, Jackie Scott, Deitra Farr and Nora Jean Brusco.

A special tribute to Hubert Sumlin on June 9 at the Front Porch Stage will be a must see for blues fans. The set will feature Steady Rollin Bob Margolin, Eddie Shaw, Kenny Smith, Dave Spector, Johnny Iguana, Bob Stroger & Bob Corritore.

In June 2011, Honeyboy and Hubert Sumlin were scheduled to perform together at the Chicago Blues Festival during a tribute to Robert Johnson; they were both unable to perform due to health issues. Both died in 2011.

Sumlin was best known as the lead guitarist for Howlin’ Wolf and he inspired some of the great rock guitarists of the era: Jimmy Page, Eric Clapton and Keith Richards.

The full line up will be announced at a later date. The 29th Annual Chicago Blues Festival is presented by the city of Chicago and produced by the Department of Cultural Affairs and Special Events.

More information is available by going to www.chicagobluesfestival.us.

Pieta Brown bringing honest sound to Old Town School of Folk Music

2012-01-28T12:36:00.000-08:00

By ERIC SCHELKOPF

For singer-songwriter Pieta Brown, her latest album, "Mercury," is truly a dream project.

Inspired by a dream she had, Brown recorded the album in a one room studio out in the country in Tennessee with an all-star cast of session players, including Bo Ramsey, Chad Cromwell, Glenn Worf and engineer Mark Polack.

Brown, www.pietabrown.com, the daughter of noted folk musician Greg Brown, will perform Feb. 2 at the Old Town School of Folk Music, 2544 N. Lincoln Ave., Chicago, as part of the Acoustic Cafe Tour with Carrie Rodriguez and Kelly Joe Phelps.

The show starts at 7:30 p.m., and tickets are $22, available at www.oldtownschool.org

I had the chance to interview Brown about the album.

Q - Of course, you are kicking off the Acoustic Cafe Tour in your native state of Iowa. What's it like for you to be on a tour such as this one?

I'm about to find out! I look forward to seeing where the music goes.

Q - Do you enjoy the collaboration with other musicians?

Always. Collaboration is really where the music happens.

Q - The tour follows your two shows with Iris DeMent. She has had some kind words for you, calling you the "best poet I've heard in a long damn time." Has she been an influence on you, especially after marrying your dad in 2002?

Absolutely. I really got to know her music all the way because of the closeness. She is a beautiful songwriter and one of the best singers I've ever heard live.

She has really supported me and encouraged me, which is an honor for me.

Q - Speaking of influences, I understand that you listened to Dire Straits' album "Brother in Arms" a lot when you were growing up. Did you ever imagine that you would one day tour with Mark Knopfler and that you would develop such a close musical relationship with him?

No, I didn't ever imagine I would tour with Mark Knopfler. But the intensity of the charge I got from listening to that music when I was so young is undeniable.

I listened to that record many times a day for a summer when I was really young. I was obsessed with it. It's the only tape cassette I've ever worn out from listening.

The power of music is stunning! I'm constantly in awe. I love it!

Something Bo said to me once that really stuck is, "If you really listen, the music never lies."

Q - I understand that you had Mark Knopfler listen to the demos for "Mercury." What kind of advice did he give you and did you follow it?

He gave me immediate responses to the songs, which from an artist like Mark, is really something to pay attention to. He also encouraged me to reach out to Glenn Worf, which I did.

Q - Did the recording session for "Mercury" live up to your dream?

It went beyond, because it was real. It was a magical session. We had a lot of fun, and those guys came and got behind the songs all the way. They gave 100 percent, and then some.

Q - What has working with musicians like Bo Ramsey taught you?

Too much to put into a sentence or two. But one thing I can point to is that I've learned that the main thing is to stay open.

Music doesn't have these daily boundaries like so many of us seem to have. Once the music starts, it doesn't matter how old you are, what color you are, who your dad is, who your mamma is, where you came from, or if you are a man or a woman.

It all goes away instantly for me. And for all of the amazing musicians I've had the chance to play with and work with, that seems to be the case.

Q - Of course, the music business continues to change. Is it easier being a musician these days or harder?

According to my teachers and friends, it's harder, maybe harder now than it was for them, but maybe not harder than it's ever been?

It's hard, but so many things are. I'm not one to follow after something because it's easy. And when it really gets down to it, the business is secondary for me. I'm chasing the songs and music

Q - You have a degree in linguistics from the University of Iowa. Do you think studying linguistics has helped in your music?

Not directly in any way. I really was not all the way engaged in it, other than trying to do my best.

Having a degree does give me a feeling that I could go back to school to study something else to get a job to pay my bills if I need to.

My mom really encouraged me to finish school (I dropped out at least five times and was filling up notebooks and hiding out playing piano).

And I'm thankful that I did. In an interview I read with Aretha Franklin several years ago, the advice that she to young musicians was, "Get a degree!"

The quickest way for me to get a degree, then, based on the handful of classes I had taken, was to get a degree in linguistics. I'm still not sure why?!

So I chose linguistics cause it was a fast way to get a degree and it seemed completely unknown, and it was connected to language.

The head of the linguistics department asked me more than once, "Are you sure you shouldn't be getting a degree in art or something along those lines?" I was a foreigner in a strange land there.

Q - How has your dad influenced your music? Was it a given that you would become a musician given your background?

I'm often asked this question in interviews. If I had a funny blanket answer, I'd give it to you. It's a question that seems almost impossible to answer. There are so many layers to it.

Both of my parents and the way my life worked out has everything to do with all of it. Why am I a songwriter and musician and my sisters are not?

Why was I born with a fever for the music and the writing? Why did that become my way of dealing with the world?

All I know is I love the music and it goes back in my family, so your guess is as good as mine, I reckon.

My dad has influenced me as an artist without a doubt. He has followed his muse, and his dedication to that has given me a lot of strength to do the same.

But I also spent a lot of my childhood living with my mom. My mom loves poems and music and has encouraged my writing since I was 5, when I used to wake up before school to write in my notebook.

My mom is also a seriously hard worker! She was a single mom and often worked 80 hours a week. And so her drive and dedication have provided a real role model for me.

Q - Your music dips into so many different genres. How would you describe your music?

I just call it music. Prairie stomp? Clearly it falls easily into the Americana category.

I've been heavily influenced by singers and songs from many genres. My deepest roots go deep into rural Iowa and American music.

All my favorites and teachers are artists that sound like themselves, rather than any kind or style.

Q - Do you have any dream projects or dream collaborations?

I have many collaboration ideas. A couple at the top of the list including making an album of instrumentals and I would like to record a song with The Deep Dark Woods.

James Durbin winning new fans, will perform in Libertyville

2012-01-26T20:01:00.000-08:00

Michael Scott Slosa

By ERIC SCHELKOPF

California native James Durbin put his rock chops on full display in landing in fourth place on last season's "American Idol."

Durbin continues to gain new fans with the release of his debut album, "Memories of a Beautiful Disaster," which debuted last November at number 36 on the Billboard 200.

One of the songs off the album, "Stand Up," was prominently featured in NFL games this season. He will likely perform that hit along with other songs on Jan. 27 at Austin's Fuel Room, 481 Peterson Road, Libertyville.

New Medicine also is on the bill. The show starts at 9 p.m., and general admission tickets are $15, available at www.ticketweb.com.

Before you go to the show, read my interview with Durbin:

Q - I understand that you wanted "Memories of a Beautiful Disaster" to really represent you and the experiences you have gone through.

Some of the songs deal with being picked on and bullied. One of the songs, "Screaming," talks about just wanting to scream at the world. I was picked on and bullied from elementary school all the way through high school. I know fans of mine have gone through similar experiences.

Q - Howard Benson produced "Memories Of A Beautiful Disaster." Why did you want him to produce your album?

When I was getting bullied, one of my favorite bands I listened to for hope was My Chemical Romance. He produced their major label debut, "Three Cheers for Sweet Revenge," and he really helped them to find their sound.

I loved the sound he put to "Memories of a Beautiful Disaster." I am completely happy he produced it.

Q - You placed fourth on "American Idol." Were you happy with how you did?

I was thrilled. I didn't have any aspirations. My whole goal is doing what I love to do. I just wanted to be a working musician. I got a lot more than I bargained for.

Q - Simon Cowell left the show right before season 10. Are you glad you didn't have to face him?

I don't think he would have liked me. I auditioned for season 8, and didn't make it. I knew in my heart I had a better chance with someone like Steven Tyler.

It was a real eye-opener. The producers gave me a lot of time to shine, and let me go crazy on the stage.

Q - What was it like performing in the season 10 finale with Judas Priest?

I was way into Judas Priest, especially in high school. It was unbelievable. It was a dream come true.

Chicago band Clip Art taking Schubas by storm

2012-01-19T20:49:00.000-08:00

Photo by Brad Meese

By ERIC SCHELKOPF

It's not an overstatement to say that singer-songwriter Andy Rosenstein is the hardest working musician in Chicago these days.

Rosenstein is on tour this month with two bands, the post-punk soul band JC Brooks & the Uptown Sound along with his side project, the sweetly melodic band Clip Art.

Since Jan. 9, Clip Art has been headlining a weekly residency at Schubas Tavern, 3159 N. Southport Ave., Chicago, and will return to the venue on Jan. 23 and 30.

All shows start at 8 p.m., and tickets are $6, available at www.schubas.com. Get a taste of the Clip Art's music at www.reverbnation.com/clipart.

I had the chance to talk to Rosenstein about Clip Art.

Q - How has the residency been going? Any surprises? What should people expect from the remaining two shows?

The residency has been excellent so far. When Matt at Schuba’s proposed it to me, it seemed like an ideal way to debut the new lineup of the band. It was just daunting enough that it would make us pull together, find our sound, and put a fire on us to work out new material.

The fact that we've had a great audience turn-out the first two weeks and maybe raised our visibility a little has just been frosting.

I guess the most surprising thing for me has been just how much the band has evolved since we added James Johnston and Mike Holtz. I knew James would be an asset as a guitarist and harmony-singer, but he's started to play a couple of keyboard parts that I'd always felt were missing before.

Mike's a really capable and inventive drummer, and he and Steve (Schuster, bass) have really locked as a rhythm section.

Last week we had a cellist playing with us, and the remaining two shows will also have special guests. This Monday (1/23) is something we're calling 'Clip Art Karaoke,' where some friends from the Chicago scene will come on stage and sing lead on a few of our songs, and we'll try out some fun cover tunes we've been playing with.

The last week (1/30) will have another guest instrumentalist, and maybe another original tune debut. What should people expect? Songs that will make them smile and dance, and that will get stuck in their heads.

They should also expect incredible opening acts. It's hard to believe that some of these groups were willing to play before us.

Q - The Uptown Sound is also touring this month. Has it been hard touring with two different bands?

Uptown has been a full-time endeavor for me for the last eight months, and for the first four of those, pretty much everything else (including Clip Art) was on hold. Before then, I had a more-than-full-time job and performed with four or five different bands. But this phase has been a totally different kind of busy.

This month has been particularly oddball because when I'm in Chicago, I'm either practicing with Clip Art or working on residency prep. Then I leave town to play theaters and come back just in time for the Monday residency. Life is good, but I constantly feel like I'm short-changing various groups of friends.

Q - What was your idea in forming Clip Art? How did you go about assembling the band?

I always try to write songs that I haven't heard before, but the flip-side to that is that my writing might be eclectic to a fault. I thought each song sounded like a different band, and that used to hold me back.

The idea that grew into Clip Art was that no matter how eclectic the songs are stylistically, it all gets filtered through my abilities and my limitations, and it all comes out sounding like me. So I don't really worry too much about that anymore.

The only challenge is describing the band to other people without being too vague, or getting verbose. I usually end up name-checking The Beatles at some point, but that could mean absolutely anything depending on who you're talking to.

As a recording and performing project, Clip Art started when my friend (singer-songwriter) Brent Puls hooked me up with the producer Josh Shapera and basically convinced me to record some of my songs first and think about what to do with them later.

The musicians who performed on my EP with were all friends of mine and Josh's. We recorded the album and then played together around Chicago for about a year. That group started to break up when the rhythm section joined a band called Gold Motel and started to tour pretty constantly.

At this point, I'm the only original band member left. Hopefully this current lineup won't change any time soon.

Q - Of course, James Johnston also has a new project, Dance Floor Plans. What do you think of his new band? Has it been hard finding time for Clip Art with everybody's other projects?

Dance Floor Plans came out of a band called Bumpus, which existed for over a decade, and who I played with for about 5 years. It was a dance band modeled on Sly Stone and James Brown, but they/we had good modern pop instincts as well.

DFP is kind of a distilled version of that band, with extra emphasis on vocal harmony and horn arrangements. I'm still involved with them for songwriting and recording, and I'm sure that at some point I'll play with them again.

Everybody in Clip Art plays in at least a couple bands, and since I spend so much time as part of The Uptown Sound, it would be really unfair to ask the other guys to make Clip Art their number one priority.

That said, we have all put in a massive amount of time to get ready for the Schuba's residency, and I think Clip Art has never been more excited or committed as a group. We're already looking to book gigs for the spring and hopefully get into a recording studio with some of the new material.

Q - The Uptown Sound has signed with Chicago-based label Bloodshot Records. How is it to be a Chicago band signed to a Chicago label? What interested you in the label?

I actually only became a full member of Uptown around the time the Bloodshot deal was getting finalized, so I wasn't involved in that process. But I'm definitely a fan of Bloodshot's stable and history.

Of all the bands I've been in, this is the only one that's seen any real label support, and it's been exciting. Between Bloodshot, all the support we've seen from Wilco, and performing twice for the Mayor, I feel like Chicago has been and continues to be great to us.

Q - What goals did the Uptown Sound have in sitting down to make "Want More?" How do you think the album turned out?

I love "Want More," but the album was basically done by the time I joined the group. I sang some harmony on a couple of songs and wrote one organ line, but that's about the extent of my involvement in the recording.

What's been exciting is seeing how the music has continued to evolve as we've toured on it. The arrangements keep getting refined, and in some cases we've totally rebuilt parts of songs. As a songwriter, that kind of stuff is always fun for me.

Q - The Uptown Sound recently played in Spain and Italy. How does performing overseas differ from playing in the U.S.?

I'd say the biggest difference I found was that JC had to speak much more slowly during between-song banter. And a lot of jokes fell flat. There were also a few confusing moments working with sound engineers.

But everybody worked with was kind, and the audiences were incredible. In Spain, a lot of them already knew the music.

Q - What do you think Clip Art contributes to the Chicago music scene?

I'd like to think that we're reclaiming the word 'pop' within a certain sub-set of music fans. Pop songs don't have to be shiny or cliché or based in modern R&B. And just because you aim to make music as art, it doesn't have to be obscured or drenched in reverb like a lot of Pitchfork-approved bands.

I don't think my music is any more pure or honest or valid than anyone else's, but I am proud to be in a band where everybody has to work really hard to execute each song. When you see us perform, you know who is making which sounds, and that it's all happening then and there. Maybe it's more craft than “art.”

Q - Do you see a time when Clip Art is the sole priority for you? What are your goals for the band?

I would love for Clip Art to be my only priority, but right now that's pretty hard to envision. The immediate goal is making this residency as successful as it can be.

After that, I'd like to record a song or two that we can put out as soon as possible. We're still a small band, but we actually have people demanding more recordings, which is great.

But I'd also like to do it for the band and for myself. It's the newest songs that I think represent who we are now and where we're going. And beyond that, the live performances are good, but recording studios offer the opportunity to really get what's happening in my head out into the world.

That's a really special thing to me.

Chicago singer-songwriter Nina Ferraro showing the strength of young talent

2012-01-15T09:54:00.000-08:00

BY ERIC SCHELKOPF

Those who enjoy discovering new local artists shouldn't overlook the fact that the Chicago area is home to a wealth of young talent.

Take Chicago singer-songwriter Nina Ferraro, who at the age of 16, already has a music resume that many seasoned musicians would love to have.

Her first original single, "Let It Go," features drummer Kenny Aronoff, who has played with the likes of John Fogerty and Eric Clapton, and was co-produced by Tommy Byrnes, Billy Joel's longtime music director.

In addition, her five-song EP "The Promise," was produced by Will Golden and Al Sgro, known for their work with Eric Hutchinson, Meiko, Michelle Branch and others.

The multi-talented Ferraro www.ninaferraro.com, who plays several instruments, including the piano, guitar, and ukulele, will perform Sunday, Jan. 15, at the Beat Kitchen, 2100 W. Belmont Ave., Chicago.

The Parlour Suite, Bad Bad Meow and Natalie Grace Alford also are on the bill. The show starts at 8 p.m., and Ferraro will take the stage around 10:15 p.m.

Tickets are $10, available at www.beatkitchen.com.

Last year, I had the chance to talk to Ferraro before she took the stage at Taste of Chicago.

Q- I see that you have already worked with some heavy hitters. How did you get connected to those people?

Basically, I sent my music around and I was really looking for the right people to work with. I really wanted people who understood where I was trying to go with the recording process.

One thing led to another, and I ended up working with them. It was a great experience, and turned out really well, I think.

Q - And I suppose those experiences are part of the learning process as well. What did you learn meeting with those people? Did they give you a lot of good ideas?

It was definitely a learning experience. The people that I worked with, they've been doing it so long, and they've seen all kinds of different things.

They get it because they're around it all the time. I definitely learned a lot about the way things go. I write the music and play it, but everything else that surrounds it I'm kind of disconnected from.

I learned so much that I probably wouldn't have learned otherwise. It was a lot of fun.

Q - As far as what you wanted to do with the EP, did you have any specific goals?

I wanted to have that control where I could come in and say 'this is the way I had it in my head' and try to recreate that in the studio.

It wasn't like I just gave them the songs and said, 'There you are. You can mess with them however you want.'' That was definitely not how it went.

Q - So they didn't take over the process.

Exactly.

Q - "The Promise" seems to be a pretty eclectic mix of songs. Did you want the EP to show off your different sides?

Yeah. Basically, I had a lot of stuff to sort through to decide what should be on the EP.

Obviously, when I play live, like when I'm playing at Taste of Chicago, I'm playing a lot of songs that aren't on the EP, but I'm also playing the EP songs.

It's so hard to edit through your own songs and kind of figure out which ones should be out there at the moment, and which ones to keep for live shows. I definitely had a little bit of help from the producers to decide what should go on the EP.

All five tracks were written at very different times in my life. They're very different. You're absolutely right.

Q - I understand that initially you weren't thinking about becoming a musician, but then as time went on, it was really something that you were committed to do.

That's right. I started playing piano when I was 4 years old, just because my brother played piano, and I just wanted to be like my brother.

I begged to start piano lessons, and I took piano for five years. I liked piano, but I was just like any other kid. I didn't like to practice.

I started playing guitar, and it was a completely different experience for me. It was awesome. I really loved it.

And that was around the time when I started singing as I played guitar. I would come up with little 30 second songs and different things like that.

As time went on, I just kept playing music and I kept doing it more often. I started playing at local coffeehouses, and it went from there.

Q - You learned how to play guitar at Old Town School of Folk Music. Was that a good place to learn to play guitar?

Yeah, absolutely. At Old Town, there were a lot of different people who were all really passionate about the same thing, which is music, primarily folk music.

There are great teachers at Old Town. It's like a community, and it was a great place to learn.

Q - When you were 11, you performed KT Tunstall's "Other Side Of the World" at your school talent show and received a standing ovation. Did you expect that?

You know, I didn't. I was so nervous.

But it felt really good. It was like, 'Wow, I actually enjoyed that.' I think that was probably the turning point when I decided I wanted more of that.

At that point, I went to different coffee shops, and said, 'I want to play here.'

Q - Things seem to be moving pretty fast for you. Is it overwhelming or are you just taking it in stride?

It's not overwhelming I think because I have kind of taken all the control. It was never something that my parents wanted and I never wanted to prove anything to anyone.

I think that because I have all that control and it has been my own doing, that kind of takes away anything that would be overwhelming.

There's nobody pushing me to do anything. There's no stage parents or crazy manager that wants me to do 10 concerts a week, or something like that. It's all basically my doing. It's just really fun. I'm having a really good time.

Q - How have your fellow classmates reacted to what you are doing?

My friends are really supportive. They come to my shows and they like my music and think it's fun. I don't really know what anyone else thinks about it.

Q - What are your short-term and long-term goals?

I like what I'm doing right now. It's been really fun. I definitely want to keep going on this route.

Hopefully, I can go on tour sometime in the future, and play even bigger gigs. I also am going out to L.A. sometime soon to record a full-length album.

Q - What should people expect from the full-length album?

It might be more in the alternative route. Everything I write is a little bit different from the last thing that I wrote.

People should expect lots of fun surprises.

Q - Do you plan to go to college?

Yeah, definitely. I think it's possible to go to college and get an education, and simultaneously tour and do everything you want with music.

I've seen it done before, and seen it done successfully.

"Destination Truth" star coming to Chicago in April

2012-01-15T07:22:00.000-08:00

Josh Gates, the host of "Destination Truth" on Syfy, will undoubtedly be checking out the mysteries and unexplained phenomenon at this year's Chicago Comic and Entertainment Expo when he serves as as one of the entertainment guests at the convention.

C2E2 will be April 13 to 15 at McCormick Place in Chicago. VIP tickets go on sale at noon CST Jan. 19, and more information is at www.c2e2.com.

Evanston native Christopher O'Riley finds connection between classical, rock music on latest CD

2012-01-14T11:50:00.000-08:00

By ERIC SCHELKOPF

Evanston native and concert pianist Christopher O'Riley continues to break down the boundaries between classical and popular music.

On his latest release, "Shuffle.Play.Listen," he teams up with cellist Matt Haimovitz for a musical adventure that marries Stravinsky's "Suite Italienne" with songs by modern artists like Arcade Fire and Radiohead.

I had the chance to talk to O'Riley, www.christopheroriley.com, about the new album and his other activities, which include hosting the popular NPR and PBS weekly program, "From the Top."

Q - How long have you known Matt Haimovitz? Do you think the two of you share the same musical vision?

Matt and I have had parallel though somewhat contrasting tracks to our careers for quite a while: he’s been taking classical repertoire into unlikely settings like rock clubs and pizza parlors, while I’ve been taking pop music and incorporating it into concerts in standard classical venues.

We have had the same manager, Marc Baylin, for the last five years or so. It was essentially Marc’s idea that we collaborate and forge an alliance that would highlight our mutual interests in a variety of genres. We'd known of each other over many years, but only met face-to-face for the first time when we were in Billings, MT., preparing our first recital together.

We had three days to get a whole program together, and I remember the 8-10 hour rehearsal days flying by, mostly because we were both keenly in tune with and trusting of each other, and the work we did was always a matter of pushing the level higher.

I think we share not only our wide-ranging musical interests, but a deep respect of the genres and composers we love.

Q - What were your goals in sitting down and making the album?

In deciding what material to include on the record, we had, of course, the idea of representing a wide variety of genres. We tousled with the thought of doing one classical record, one non-classical, and releasing them separately.

But that seemed to undercut our desire to invite the listening audience into our more capacious sound world. We also had the idea of juxtaposing the pieces, really making the case for their commonalities as well as their contrasts.

In the end, when we’d arrived at a list of must-play music, we found we had a double-CD set on our hands (and even then, we weren’t sure it would all fit).

In addition to all the standard repertoire pieces we'd decided on and prepared for the bulk of our initial Billings show, I’d been celebrating the centenary of Bernard Herrmann’s birth by arranging for piano movements of his music for Alfred Hitchcock’s Psyco.

With Matt’s boundless virtuosity, I thought it would be worth trying to create the lush romanticism of Herrmann’s Vertigo music. As that piece has a certain Wagnerian sense of motivic identification and development, some of the themes appearing in various movements, Matt had the bright idea of scattering the Vertigo movements throughout the classical CD, acting as curtain-raisers and through-line for the other selections.

Thus, "Shuffle.Play.Listen" is to a certain extent pre-shuffled. The album’s title has to do with the way we listen to music in these times, in particular, the lateral way in which we find new musical discoveries; the album is sort of an homage to the iPod.

We wanted to draw listeners from either side of the genre divide and show them there are riches to be had and valuable experience gained in the brave traversal of the unfamiliar.

Q - What do you think he brought to the album?

Foremost, Matt’s involvement dictated the choice of material in the most inspiring way: I’ve always made solo piano arrangements, acknowledging that the piano can never replace the sound of the human voice, though emulating that sound has been a goal of pianists and composers all along (Chopin, in particular).

The cello is the instrument closest to the human voice, in my opinion. But Matt’s instrument was only the beginning: he not only brought a sense of singing line to all the selections, but sought to make each vocal style integral: the near-spoken intimacy of Radiohead and Blonde Redhead, the sinuous Levantine style of James Maynard Keenan of A Perfect Circle, the operatic coloratura of Elizabeth Fraser of Cocteau Twins, etc.

Matt was also extremely patient and willing to experiment when my lack of knowledge of the cello’s capabilities (though not a lack of presumption) led us to make adjustments to the arrangements. Most importantly, Matt’s contribution in that revisional realm was usually not mere expedience, but often led him to take on more than one could have imagined, making much of the album's material a sort of new setting of the bar for cello technique.

Q - What draws you to interpret a band’s music?

Mostly, it’s a matter of texture and harmony; a chord that makes your spine tingle, the setting of several motives in motion that creates by default a potential pianistic or musical texture or weave. I’m more interested in the conversational, horizontal interaction of voices than the vertical onslaught of much pop music. Radiohead’s music in particular is always a culmination of musical contributions to each song by every member of the band.

Q - Do you think you have introduced classical music lovers to Radiohead and vice versa?

Radiohead’s music appeals to the left-brain classical music lovers, and some strains of modern classical music have been fonts for inspiration of Radiohead, most notably, Messiaen, Steve Reich, Penderecki. I think it was an inevitable commonality between enthusiasts of music at its best.

Q - Do you think you have helped change the landscape of classical music, or made people think differently about classical music?

I’ve been true to my tastes and passions, and in the interim, if I’ve brought pleasure, insight and new experience to listeners on both sides of the genre divide, then I count myself lucky.

Q - Chicago is known for its diverse music scene. Do you credit your upbringing in the Chicago area for giving you the tools to become a professional musician?

There are many great civic music programs in the city of Chicago. We’ve had many supremely talented musicians come out of those programs and from Chicagoland in general.

It helps to have such a great and supportive arts station like WFMT. Access, via the radio, was the most significant and unique aspect of Chicago musical life for me, as is the plethora of diverse music venues and programs throughout the area. It’s a hotbed, and one can’t help but get caught up in the positivism that pervades the Chicago scene, as opposed to the competitive streak that runs through for instance, New York.

Q - What do you attribute to the success of "From the Top?" Does the talent of the young musicians ever surprise you?

The talent of these kids continues to astonish me. They keep getting better all the time.

I think the success of the program is largely in the ability of the audience to get to know the performers as people, find common interests with them, and thereby allowing one’s self to be open to the musical experience the kids bring to playing their favorite 5 minutes of music in the world.

This does wonders for making classical music a personal and universal experience.

Chicago native Haroula Rose going back into studio this month to record second album

2012-01-07T15:48:00.001-08:00

By ERIC SCHELKOPF

For those waiting for new music from sweet-sounding Lincolnwood native Haroula Rose, they will not be disappointed.

Rose will follow up the 2009 release of her full length debut "These Open Roads," with an EP of new songs set for release in early spring. In addition, Rose will be recording her second full length album this month in Georgia that is set for a fall release.

To tide you over, click on the link below for a remix of her "Close My Eyes To See" remixed by Luke Top of Fool's Gold:

http://www.yousendit.com/download/T2dma3ZPYSszMW5tcXNUQw

Also, watch this recently released video version of Rose covering Mason Jennings' song, "Duluth."

To read my interview with Rose, click on this link: http://thetotalscene.blogspot.com/2011/03/chicago-native-haroula-rose-to-return.html

Stellar lineup set for Chicago Roots Collective Showcase

2012-01-06T13:03:00.000-08:00

By ERIC SCHELKOPF

It's only early January, but 2012 is already shaping up to be a stellar music year in Chicago.

Those who come to the Chicago Roots Collective Showcase on Jan. 7 at the Subterranean, 2011 W. North Ave., Chicago, will hear a night of great music.

On the bill are Jennifer Hall, The Congregation, Bassel and The Supernaturals and Harris and The Mood. The show starts at 9 p.m., and tickets are $10, available at www.ticketweb.com.

One can only hope that Hall and The Congregation's Gina Bloom will team up for a duet while on stage. For two female singers with such powerhouse vocals to be on the same stage is a rare treat indeed.

&amp;amp;amp;amp;lt;a href="http://jenniferhall.bandcamp.com/album/in-this"&amp;amp;amp;amp;gt;In This by Jennifer Hall&amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;gt;

&amp;amp;amp;amp;lt;a href="http://thecongregation.bandcamp.com/album/not-for-sleepin"&amp;amp;amp;amp;gt;Not for Sleepin' by The Congregation&amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;gt;

Common Shiner among Chicago bands topping the bill at Double Door show

2012-01-06T11:17:00.000-08:00

By ERIC SCHELKOPF

Those who head to the Double Door in Chicago on Jan. 11 will get more than their money's worth.

For $1, concertgoers will hear some of the finest acts this region has to offer, including Common Shiner, Little Big Fat, Bobcat Williams, Michael Lux and The Bad Sons, and the band Simpleton & Cityfolk.

Topping the list is Common Shiner, a band that plays intelligent pop-rock bound to appeal those who are also fans of such musicians as Ben Folds. Those familiar with the band will have the luck of hearing them perform a set of brand new songs.

The night of music starts at 8 p.m., and tickets are available at www.ticketfly.com.

&amp;amp;lt;a href="http://commonshiner.bandcamp.com/album/before-they-sold-out-part-1"&amp;amp;gt;Before They Sold Out: Part 1 by Common Shiner&amp;amp;lt;/a&amp;amp;gt;

Midwest Hype creating fresh buzz through its music

2011-12-29T06:58:00.000-08:00

By ERIC SCHELKOPF

Midwest Hype is an appropriate name for a band that is creating a fresh buzz through its eclectic mix of funk, reggae, rock, jazz and hip-hop.

The seven-piece LaPorte, Ind. band, www.onesheet.com/midwesthype, will perform Jan. 5 at Schubas, 3159 N. Southport Ave., Chicago, to celebrate the release of its new EP, "Dayglow."

The band Otis is also part of the bill. The show starts at 9 p.m., and tickets are $10, available at www.schubas.com.

I had the chance to talk to Midwest Hype drummer Max Kepler about the band and its activities.

Q - The band's sound has been described in many different ways. How would you describe the band's sound? What made you want to create the sound the band has?

Yeah, lots of people describe our sound differently. The best way I think to decide is to see the live show. When I am telling people about it, I say a combination of funk, rock, reggae and hip-hop. We have coined our sound "Urban Garage Jazz" or "Urban Garage Rock."

We have always listened to lots of different music from both coasts and had an uniquely Midwest experience growing up by the beach (Lake Michigan). We wanted to write songs that combined a lot of sounds from the artists that we listened to including the Red Hot Chili Peppers, Steely Dan, Dr. Dre, Sublime, A Tribe Called Quest, Bob Marley and many others.

I think that we achieve that with Midwest Hype because I don't think anyone really sounds like we do.

Q - What was it like opening for the Wailers? Do you consider them a big influence?

Opening for The Wailers was amazing. They are such a good act and we were honored to share a stage with them.

We have been listening to Bob Marley, Toots and the Maytals and lots of other Island artists since we were all young. Playing with them made us realize how much of a rock band we are compared to them. We use use reggae elements, but what they do is so authentic and it was amazing to watch.

Q - You have a new EP, "Dayglow." What should people expect from the album? How did you hook up with Steve Gillis?

The Schuba's release is going to be amazing and we can't for people to hear the EP. We met Steve through the band How Far To Austin. They have been great friends and opened a few doors for us. Steve was finishing their record when we started recording "Dayglow" a year ago.

Q - What was it like to be named last year as the "Best Band About To Make It Big." Did it put additional pressure on the band?

It's always nice when people recognize something you create and respond to it positively. We try not to get too caught up in expectations and always just try to write the best songs possible and have a great live show.

Q - Are you pleased with the impact the band has made so far? What do you think the band adds to the music scene in Chicago and Indiana?

We are pleased with what we have done so far. Opening for the Wailers and Girl Talk, and playing slots at Summer Camp, North Coast and the Indy 500 are pretty big accomplishments for any band.

I think that having Midwest Hype on any bill always adds a bit of fun. We always have a good time and hope that everyone else is having a good time too. We don't take ourselves too seriously, but we are serious about our music and how we create it and show it to people.

As long as we continue to have fun with this I'm sure we will grow and build. "Dayglow" is going to be a big next step.

Van Halen to play Feb. 24 at United Center in Chicago

2011-12-26T19:27:00.000-08:00

Van Halen, with David Lee Roth back in the fold, will perform Feb. 24 at the United Center in Chicago. Tickets for the show go on sale Jan. 14. Read more:

Chicago band The Buddies bringing new energy to scene

2011-12-14T13:19:00.000-08:00

By ERIC SCHELKOPF

Most bands can't reproduce their live sound in the studio.

But Chicago band The Buddies does so in scorching fashion on its latest CD, "F*** The Buddies," released in August.

The band, www.candyappleandthebuddies.bandcamp.com, will take its unbridled sound to The Empty Bottle, 1035 N. Western Ave., Chicago, on Dec. 22. Dirty Pigeons, The Canoes and Ed Jurken also are on the bill.

The show starts at 9:30 p.m., and tickets are free to those who RSVP. More information is at www.emptybottle.com.

I had the chance to talk to The Buddies lead singer Coley Kennedy about the band and its activities.

Q - The band's sound has been described in numerous ways. How would you describe the band's sound?

Someone once described our sound as "a southern rock version of The Clash." I'll take that.

Q - You dropped Candy Apple from the band's name. Why? Do the members of The Buddies see each other as friends both on and off the stage?

Candy Apple was more of an inside joke among the members. We kind of got sick of having people ask us why we were called Candy Apple & The Buddies.

Also, we and our fans have always referred to the band simply as The Buddies. It just seemed to make more sense. Not that The Buddies is any less of a terrible name than Candy Apple & The Buddies.

Do we see each see each other as friends both on and off the stage? Yep. We were friends long before The Buddies started to make music together.

Q - Of course, The Buddies is comprised of members from Welcome To Ashley and Pale Blue Dot. How did the project come about in the first place? Was it a seamless transition? What was the goal in forming The Buddies?

I had several songs that I'd written in WTA that weren't quite WTA's style. I sent the Collins' (members of Pale Blue Dot) a tape of the songs, hoping they'd come up with some nice, mellow, roots-y instrumentation - banjos, mandolins, pedal steel, etc...and then we'd record the songs. I then flew to Nashville (along with Pete Javier from Welcome to Ashley), eager to record a "country" record. We tracked eight songs, unrehearsed, live and drunk, in 2 days - in the Collins' living room. It couldn't have been less country, (but) we called the album "Country Record."

Q - In sitting down to record "F*** The Buddies," what did you set out to do? How do you think it stacks up to your previous efforts? Did the finished product meet your expectations?

<a href="http://candyappleandthebuddies.bandcamp.com/album/f-the-buddies">F*** THE BUDDIES by THE BUDDIES</a>

We set out to make a great record, and we did. And as far as the recording, it's about as real as it gets. We tracked all 12 songs in three days.

Q - Judging from the band's concert videos, it looks like you guys try to put a lot of energy into your shows. Your latest CD also has a live feel to it. Were you trying to capture the band's energy on the CD?

Yep. And it wasn't difficult to capture the live feel, because it was recorded live.

Q - Who are your biggest music influences and how do they fit into the band's sound?

The Buddies influences are The Pogues, The Replacements, The Faces and The Stones.

Q - What are the band's goals for the next six months?

We're making a video for "All The Beer Is Gone" in January in NYC. Aside from that, we will continue to tour, write songs and hopefully make another great record in spring, 2012.

Q - Where do you see yourself fitting into the Chicago music scene? What do you think the band adds to the scene?

I don't know where we fit in the Chicago music scene, and I'm not sure what we add. I'd like to think that The Buddies add everything great that's been missing from the music scene for a long, long time.

Benefit set for blues great Hubert Sumlin at FitzGerald's

2011-12-10T19:14:00.000-08:00

Best known for his work with Howlin' Wolf, blues guitarist Hubert Sumlin was an inspiration to the likes of Keith Richards, Frank Zappa and countless other musicians.

Sumlin passed away on Sunday at the age of 80. Many of the musicians who shared the stage with Sumlin over the years will perform at 8 p.m. Dec. 13 as part of a benefit at FitzGerald's, 6615 Roosevelt Rd., Berwyn.

Donations will cover a portion of the expenses for his funeral and the rest will be donated to the Blues Foundation Hart Fund, www.blues.org/hart

More information is at www.fitzgeraldsnightclub.com.

David Bowie's songs to be at the center of new musical

2011-11-27T09:26:00.000-08:00

Major Tom headed to the big stage. Read more at:

David Bowie agrees for his songs to be used in Heroes musical (telegraph.co.uk)

Cheap Trick plans new music venue, museum in Chicago

2011-11-13T10:35:00.000-08:00

Beloved Rockford band Cheap Trick wants to open music venue, museum in Chicago. Read more at:

Cheap Trick to Open Music Venue, Museum (jambase.com)

Chicago music scene in spotlight at Chicago Roots Collective Festival

2011-11-12T12:22:00.000-08:00

By ERIC SCHELKOPF

The Chicago music scene is filled with adventurous bands making fresh, original music.

Lucky for us, many of those bands will share the same stage when they perform Nov. 18 and 19 as part of the third annual Chicago Roots Collective Festival at The Elbo Room, 2871 N. Lincoln Ave., Chicago.

Music starts at 8 p.m. both nights, and tickets are $10 for a single-day pass, $15 for a weekend pass, available at www.elboroomchicago.com. Festival-goers will be pleased to know that 25 percent of all proceeds will benefit Old Town School of Folk Music.

A full schedule of bands is available at www.chicagorootscollective.com.

I had the pleasure of talking to Danny Surico, president of Chicago Roots Collective and frontman of The Future Laureates, Trevor Jones, of the Chicago band Molehill, and Brian Wise, of Chicago band Jackpot Donnie, about this year's festival.

Q - This is the third year of the show. What have you learned from past shows and what were your goals for this year's show?

Danny - At a fundamental level we have learned all about logistics. Getting three bands to put on a show is tough enough let alone 10 + acoustic acts, so learning how to get everyone on the same page is something that has got better with each festival.

We are playing in the Elbo Room again this year because we realized after last year's festival that the Elbo Room is a great set up for something like this with the split levels that can accommodate full bands and acoustic acts.

Incorporating acoustic acts was a great idea by Donnie Biggins from The Shams Band and it involves even more artists in the festival. Also, the CRC has included artists from other disciplines which really helps give the Festival a community feel.

Trevor - For this year's fest we have kept a similar model including full bands, acoustic acts and other artists, but we have also involved a great institution in Chicago - the Old Town School of Folk Music. The CRC is donating 25% of all proceeds to this organization. Our goal is to always have a great vibe at our shows and provide friends and fans with great music to listen to. Each year gets better and better.

Q - How did you go about choosing the lineup for this year's show? What are the standout bands in this year's festival?

Danny - The thought that went into booking this year’s festival, first and foremost, was finding bands that fit well together musically. If you listen to the acts playing this year’s fest, there’s enough diversity to keep fans interested from act to act, but there’s also enough continuity among acts that it doesn’t just seem random.

Eight bands who are current (and founding) members of the Chicago Roots Collective are playing downstairs on both nights of the fest. In addition, we’ve gotten some new up and coming acts like Dan Tedesco and Tree in the mix on both nights downstairs.

These are bands that we’ve seen over the past year that are quite talented musically and hard workers. Those two qualities were important to the CRC bands when deciding which new bands to bring into the mix for downstairs.

As for upstairs, the acts are all acoustic, which will provide a nice change of pace to the bands playing downstairs. Some of the upstairs acts are solo artists and some are acoustic versions of full bands that play regularly in Chicago.

All the upstairs acts are excellent musicians that have been connected with the Chicago Roots Collective in some capacity over the past year. In some cases, the acoustic acts played on a monthly Chicago Roots Collective showcase; in other cases, they attended our recent networking event, or were referred to us by friends of the Chicago Roots Collective.

We believe the fact that a lot of the bands know each other and have performed together previously is definitely a positive thing. That sense of support and community among bands is a vibe that we hope will carry over easily to our fans in the audience.

If last year’s festival is any indication, the result should be a friendly, fun, and supportive environment for everyone attending and playing the fest.

Q - How does the show fit into the mission of the Chicago Roots Collective? What success stories have the Chicago Roots Collective had? What is the group planning to do in the future?

Brian - The CRC Festival is the product of our mission statement. We set out to be a group of musicians that work together to get our music heard. In this instance, we have upwards of 100 Chicago musicians playing together over two nights.

Last year there was such a positive vibe at the festival. I anticipate more of the same this year. We had CRC bands covering each other's tunes which helped fans of bands come to appreciate some of the other acts.

It's easy to say you want to create a music community, but it's rare to actually carry that out nowadays.

There is a real sense of community, and that's all that we've ever wanted. The bands in the collective support one another, and that carries over to the fans. We've been playing together for three years now, so each band has had opportunities for exposure they never would have.

The music industry can be very dog-eat-dog, but when you have people working together, everyone goes further.

I think the future of the CRC will involve expansion to include even more Chicago musicians. Last summer, we had our first networking event that was open to the public, and we had a great turnout.

Many of the musicians that showed up to the event are playing this year's fest. People see the great work we're doing and they want to be a part of it. The more the merrier!

Q - How does the Chicago music scene compare with other music scenes?

Danny - I’ve heard comments from a number of out-of-town bands who have come to play in Chicago, especially on a Chicago Roots Collective showcase, that there are two things that stand out to them when they play here.

First, the bands on our showcases all seem to know each other and fit really well together musically. Secondly, the bands here operate with a level of organization that is different than their home market.

We do things like backline drums and amps for an entire show (which makes for quicker set changes), coordinate our promotion with one poster design and one Facebook event for all the bands playing that show, and display transparency and fairness with payout at the end of the night.

These are things we’re doing in Chicago that are appreciated by out-of-town bands, quite simply because these practices are not the norm in their home city.

The truth is that in many cities across the country, there is an amazing array of talented, independent bands grinding it out on “the journey.” However, what makes Chicago, (and specifically the Chicago Roots Collective) unique is our ability to recognize that it’s really not a competition or race among bands to be successful.

Instead, we take a community-minded approach, believing that shared success, at the end of the day, is still success. Our interaction and perception of other bands isn’t so cutthroat, and when you see a bunch of bands actually giving a damn about and rooting for the success of their peers, it creates a win-win environment for bands, venues, and fans.

Our fans especially notice when the band they came to see openly supports the other bands playing that same night. For more than three years, the Chicago Roots Collective has been trying to cultivate that type of scene here in Chicago, and the community that has formed is a result of that intentionality.

"American Idol" finalist James Durbin continues musical journey with upcoming release of debut album

2011-11-10T15:00:00.000-08:00

By ERIC SCHELKOPF

James Durbin's hard rock swagger on this season's "American Idol" landed the California native in fourth place on the show.

Durbin will continue his musical journey this year with the Nov. 21 release of his debut album, "Memories of a Beautiful Disaster."

I had the chance to talk to Durbin about the album and his "American Idol" experience.

Q - I understand that you wanted "Memories of a Beautiful Disaster" to really represent you and the experiences you have gone through.

Q - Howard Benson produced "Memories Of A Beautiful Disaster." Why did you want him to produce your album?

I loved the sound he put to "Memories of a Beautiful Disaster." I am completely happy he produced it.

Q - You placed fourth on "American Idol." Were you happy with how you did?

I was thrilled. I didn't have any aspirations. My whole goal is doing what I love to do. I just wanted to be a working musician. I got a lot more than I bargained for.

Q - Simon Cowell left the show right before season 10. Are you glad you didn't have to face him?

I don't think he would have liked me. I auditioned for season 8, and didn't make it. I knew in my heart I had a better chance with someone like Steven Tyler.

It was a real eye-opener. The producers gave me a lot of time to shine, and let me go crazy on the stage.

Q - What was it like performing in the season 10 finale with Judas Priest?

I was way into Judas Priest, especially in high school. It was unbelievable. It was a dream come true.

Q - Besides your album coming out, you're getting married this year. It's going to be a small wedding, I understand.

My fiancee, Heidi, she ordered a dress online, and I'm going to wear a suit from my closet. I didn't see the point of going huge and all out.

Q - The two of you have a son. Does he like your music?

Hunter is 2 1/2. He loves it. He knows all the words to all the songs I sang on "American Idol." He's a human jukebox.

He's already showing a major interest in music. He can't pick up the guitar unless he has a pick in his hands.

Q - You want to tour next year, right?

We're looking to do a nationwide tour in January and early February.

Q - Hopefully you'll get to Chicago.

Chicago is a big rock 'n' roll city. I was at Lollapalooza this summer. It was a blast.

Morrissey's show in Chicago postponed

2011-11-09T07:21:00.000-08:00

Because of a visa administration error, Morrissey’s lead guitarist is unable to perform in the U.S. this week, which has forced the postponement of Thursday’s sold out concert at the Congress Theatre in Chicago. The show has been rescheduled for Dec. 17.

Tickets for the Nov. 10 show will be honored at the Dec. 17 show.