Chicago area musicians Ray Johnson and Dave Bieritz team up again for the album "Other Times And Other Places"

By ERIC SCHELKOPF

On their latest album, "Other Times And Other Places," Ray Johnson and Dave Bieritz continue to make a good team. 

They originally played together in the band Saldo Kreek, which dissolved in 2002. Johnson and Bieritz resumed their musical partnership in 2019.

Johnson, a St. Charles singer-songwriter, has his own publishing company, Soon To Be Famous Publishing LLC, and is responsible for all distribution and promotion of his work. He makes music out of his home studio in St. Charles. 

I had the chance to talk to Johnson about the new album. We spoke last year about their album "Appealing To Angels."

Q –  You just released "Other Times And Other Places" in August and I understand you're already working on your next album. Is that because you have so many songs brewing?

Ray Johnson

 

Yeah, it basically is that. We really don't ever take a break with the writing.

Either we are finishing songs for an album or writing new material immediately afterwards for the next album.

Q – And that's another way to keep your name out there too.

It is. Your chances are better at creating and keeping an audience through doing that.

Everything has an expiration date to some degree. 

Q – It seems like there is a story behind the album's name.

There's an instrumental song on the album called "Other Times And Other Places." There was just something that rang true in my head about the title being "Other Times And Other Places."

And the music itself is reflective of things gone by in a style that kind of reflects '60s jangle pop that is also heavy on the storytelling and songwriting of the songwriters from the '70s, which is my biggest inspiration. 

 

Dave Bieritz

So that's kind of where the title came from. It's a mesh between the two, history and the future.

Q – Do you have any favorite songs on the album?

One of my favorite songs on there is "Words We Didn't Say (Friday Afternoon)." The song is almost 7 minutes long. 

https://open.spotify.com/track/70TsX7BLRAXs5axOQMq2MG 

It's very cinematic. It's a really good song that would work in TV or film. 

It's a really beautiful song. It's probably one of my favorite songs, if not my favorite song, on the album.

The album is a great listen, from the start to the end.   

Q – Why do you and Dave work so well together?

Dave, like me, enjoys the whole experience of writing and creating one's own music. And he's so creative.

His contributions tie everything together. We're also really good friends and do other things outside of music.

But what really keeps us together and focused is the music. The whole process of creating a song is just exhilarating to the both of us.

Q – What should people expect from the new album that you are working on?

I think people will see additional development and growth in what we do. 

More information about Johnson's music can be found on his website, ray-johnson.com.

Chicago-based Surabhi Ensemble taking its Global Peace Tour to India this month

By ERIC SCHELKOPF

 

After visiting Vietnam, Spain, Portugal, Senegal and Mexico in recent years, Chicago-based Surabhi Ensemble will take its Global Peace Tour to India this month.

I had the chance to talk to Surabhi Ensemble band leader Carlo Basile about the upcoming tour.

 

Q – Great talking to you again. Of course, Surabhi Ensemble's Global Peace Tour of India will begin on Dec. 17. What are you looking forward to the most from the upcoming tour?

 

Well, I’m glad to be taking our art to India finally. This was always a goal of the Surabhi Ensemble with four of the artists being born there. 

 

It’s also so divisive in the U.S. and I don’t mind taking a break from that and news stories, in general. 

 

But the best part is usually the people you meet in artistic circles and the new inspiration you may get for future work. 

 

Q – I understand Surabhi Ensemble will release an album based on the group's experiences from the tour. When do you plan to release the album and what should people expect from the album?

 

We have a very limited release of the Surabhi Ensemble "Respiro Libre" album to bring with us on the tour. We will mostly give that out free to folks who appreciate our music.

 

So, I think we will add a few tracks to that album and officially release all of it later next year. 

 

Q – I know the group has traveled to Vietnam, Spain, Portugal, Senegal and Mexico in recent years. Why is it important to you to bring the band's music to other countries?

 

Most of the artists in the group are world travelers and I think it’s fun to visit new places and see how different cultures respond to our original work. It’s been a really rewarding experience all around. 

 

 

We get such a positive response everywhere. Additionally, I think it’s important for folks around the globe to see the U.S. represented by such a diverse group of cultures with a message of peace and unity. 

 

Q – You have lent your talents to several groups over the years. It seems like there are many Chicago musicians who like to collaborate with other Chicago musicians. Is that one reason why the Chicago music scene is so strong?

 

Yes! Chicago seems to be just the right size and so diverse. Folks tend to be a bit more easy going than I have witnessed with some artists from LA or NYC. Maybe I’m just biased being born here? 

 

Q – It seems like you are always busy doing something, including running. Congratulations on qualifying for next year's Boston Marathon. 

 

Thanks! That was a BIG goal of mine.

 

I really focused on improving my form and training program. It worked! I’m working on a solo release for next year with the title (roughly translated from Spanish) of “Globetrotting Guitar.” 

 

Q – How did you develop a taste for running? As you are running, are you thinking up new musical arrangements?

 

So, during the pandemic, Bob Garrett (percussionist from Surabhi Ensemble) and I started running every day. I had been playing hockey and I think running felt like a good substitute.

 

Then I realized that running daily with the correct form and lower body weight really felt good! I was getting too old for hockey but I still wanted to compete.

 

So, now I run against the clock and I’m usually in the top 10% of my age group. Yes, when I run, I think about new ideas for music or I listen to other music to get ideas.

 

If I have newly recorded pieces of my playing, I might take those with me to listen for ways to improve. 

 

Q – And of course you and your wife operate a highly regarded hot dog stand in Chicago. That is something that runs in the family, right? Did your father Paul own the "Music Man Hot Dog Stand" in the 1970s at Amundsen Park in Chicago?  

 

That must make you and your wife Kim feel pretty good that Kim and Carlo's hot dog stand is so highly regarded. What do you try to do to make your hot dog stand stand out from others in the area?

 

Yes, that’s all true! But really, my wife is the driving force behind that business.

 

When I started doing music full-time about 25 years ago, she took over. Yes, the hotdog carts have been featured in the New York Times and on many TV series. 

 

 

I think because we have kept it small, Kim has been able to maintain a very high level of quality. We were also one of the first hotdog stands to sell vegetarian “Chicago Style” hotdogs in the 1990s!

 

Q – I understand that people can request ketchup to put on their hot dog, but if they do, they have to dance for it. Have you had many takers? Hopefully you have captured that on video. 

 

True, and always a few willing to dance. Those videos (if they do exist) are top secret!

Bernard Allison, son of legendary Chicago blues musician Luther Allison, talks about his career ahead of Ruf Records' 30th anniversary show at the Arcada Theatre

By ERIC SCHELKOPF

Ruf Records certainly has done its part to keep the blues alive.

The independent record label was founded in 1994 by Thomas Ruf, the manager of Chicago blues legend Luther Allison, to help promote Allison's career.

The label is celebrating its 30th anniversary with a tour featuring several of its artists, including Luther Allison's son, Bernard Allison, who has made his own musical impact.

Allison along with Samantha Fish, Canned Heat, Mitch Ryder and Ghalia Volt’s One Woman Band will perform Nov. 10 at the Arcada Theatre, 105 E. Main St., St. Charles.

The show starts at 5 p.m. and tickets are available at arcadalive.com.

I had the chance to talk to Allison about the upcoming show.

 

Q – So it must be extra special for you to be part of this tour, given that the label was founded in 1994 by your dad's manager, Thomas Ruf, to promote Luther's career. 

Yes, we did the European leg of the 30 year anniversary tour Jan. 17- Feb. 7 with Katie Henry, Alley Venable and The Bernard Allison Group, which are all current Ruf Records artists. We had performances in Germany, Denmark, Switzerland, Holland and France.

 

It was a beautiful and magical tour across Europe. 

 

Q – And of course, you released "Luther's Blues" in January, which features 20 of your dad's songs that you have remade. What were you looking to do in remaking the songs? Was it just the right time to release the album?

 

I thought it would be a perfect album to release for the tour, considering that my dad basically started the label and laid the path for all the following artists.

 

I hand selected tunes from my previous albums where I put my own twist on my dad's tunes. Thomas Ruf and I agreed that it would be perfect for the anniversary tour.

 

It debuted at #1 on the Billboard Blues Chart, which was a good sign that people were digging it.

Q – I understand that you promised your mom that you would always include at least one or two of your dad's songs on every album. How did you go about choosing what songs to put on "Luther's Blues"?

 

Correct. I always ask my mom which songs of my dad's I should record. Going through all my recordings, it was not easy to select which tracks to include. 

 

So I kinda went from my early albums to the more recent ones. It was important for me to make sure the dynamics flowed smoothly from track to track.

 

I think it was a good choice, considering I’ve recorded more of my dad’s songs on other albums.

Q – You lived in Paris for 12 years. How would you compare the audiences in Europe to the audiences in the United States?

 

I spent a lot of time performing all over Europe as my dad’s band leader. That led to me touring the same circuit with own group.

 

Which is pretty cool because I grew up with my dad’s European fan base. For me, the European fan base allowed my dad and I to be ourselves,without putting a label on us both.

 

I find the United States really tries to put a label on an artist.

 

My dad always told me, "Don’t let them put a label on you. Play what you grew up with and make it your own."

 

So I stuck to that concept and play blues, funk, gospel, soul and R&B.

 

Q – You were born in Chicago and have many connections to the city. Right before graduating from high school in 1983, you played with your father at the Chicago Blues Fest. What was that experience like and what did you learn from the experience?

 

Yes, the Chicago Blues Fest was the beginning of a dream come true, to be on stage with my dad at a very young age, as well as perform in front of a very large crowd of blues lovers.

 

Q – What was it like being the lead guitarist in Koko Taylor's band? Do you think the experience helped shape you into the musician you are today?

 

Yes I always give credit to Koko & Pops Taylor. They both taught me the rules of the road considering I was not old enough to be in the clubs.

 

So my parents gave them permission to do so. Being with Koko taught me how to play behind a leader as opposed to starting as a front man.

 

I learned how to play rhythm and support the leader, which made me the player I am today and also led me to become my dad's band leader. 

 

Q – I would imagine there are some people who expect you to be exactly like your father. How have you tried to distinguish yourself from your father?

At the beginning, everyone expected me to be a carbon copy of my dad. My dad had his idols like Otis Rush, B.B. King, Magic Sam, Chuck Berry and Otis Redding.

 

So you could hear them all in his playing and vocals. I, on the other hand, studied all of them as well as Johnny Winter and Stevie Ray Vaughan and funk and R&B. We are two different players and vocalists.

 

I have a lot of him in me naturally, but also have found my own path. Today, people can hear the difference in both of us, but also hear the similarities in us.

 

It's in my blood.

Innovative Chicago area saxophonist Chris Greene releases new album on Chicago label Pravda Records

 

By ERIC SCHELKOPF

 

Innovative Chicago area saxophonist Chris Greene continues to make his mark on the scene.

The Chris Greene Quartet on Oct. 18 will release "Conversance," on Pravda Records, Chicago's longest-running indie rock label. It is the first time the label has released a jazz recording.

To celebrate the release of the album, the Chris Greene Quartet will perform at 7:30 p.m. Oct. 20 at Epiphany Center For The Arts: The Sanctuary, 201 S Ashland Ave, Chicago.

Admission is free, but reservations are recommended. More information is available at epiphanychi.com.

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

Q – Great talking to you again. I guess I last talked to you in 2017 about the band’s album “Boundary Issues.”

Of course, you are about to release a new album, "Conversance," and it’s your first album on a label. Was it just the right time to get signed to a label?

I was never adverse to signing to a label or working with a label. I had been approached by a couple of local labels, and it was never the right situation.

It was, "We'd love to sign you, but we need you to play more traditional straight-ahead jazz." 

In the last couple of years, I've been doing a number of gigs with musicians who are on the Pravda label, like Nora O'Connor and Steve Dawson. They were telling Kenn Goodman, the head of Pravda, that he needed to work with me.

Last summer, he introduced himself to me. He didn't tell me that he wanted me to play in a certain manner.

Kenn said that he wanted me to make him a good record and that he would figure out how to market it. And I said, "OK, we're cool."

Q – So it sounds like he pretty much gave you free rein.

That's pretty much his attitude with all his artists. His attitude is, "just bring me a good and honest record." 

He doesn't sign people he doesn't believe in. It's really an esteemed company. 

 

Q – The release of the album will mark the first time Pravda Records has ever released a jazz album. That must make you feel pretty good, to be making history that way.

Yeah, it does make me feel pretty good. This is a company that has been in business for 40 years and has built up a great track record.

This is a chance to stay true to myself. Basically, they will amplify my signal and get me to people who are music fans.

Q – There are so many great musicians on that label representing so many different genres. You were just talking about Steve Dawson and coincidentally enough, I interviewed him in June about his latest solo album, “Ghosts." And I know you were one of the special guests that played at the album release party.

It seems like one of the things that maybe sets the Chicago music scene apart from other music scenes is that everybody knows everybody and that for the most part, everybody wants to collaborate with each other.

Would you agree with that?

In many ways, yeah. 

Q – Is there a meaning behind the name of the album?

The word conversance means to be intimately familiar or knowledgeable about something. With us, it's two things.

We are intimately knowledgeable with each other as musicians, as a band. I'm proud to say this band has been in existence since 2005. 

And we've only made one personnel change and that was to get our current drummer, Steve Corley, to join in 2011. He's pretty much been in the band over half the life of the band.

We're interacting with each other and we're interacting with the audience.  

Q – Did turning 50 impact the way you approached the album? 

A little bit. It's one of those things where I was kind of taking stock of where I am now.

I'm in this weird position where I'm still trying to figure this out, but at 50 years old, I've figured out a fair amount of stuff. We had a collection of songs ready to go and it just happened to be around that same time where Kenn Goodman walks in my life and says, "Hey, I want to do something with you."

It was a pretty easy process because we already had most of the songs ready to go. Maybe being 50 years old has made me more efficient with my time.

Q – The publication “All About Jazz” referred to you as being a a post-bop maverick intent on shaking things up for the mainstream. Is that what you are trying to do with your music?

Maybe unconsciously. The people whose music that I love pushed buttons.

They were unapologetically themselves and they kind of forced you to accept their artistic growth. Musicians like Miles Davis, John Coltrane, Joni Mitchell and James Brown.

That's the kind of example that I'm trying to follow.

Q – Do you have any dream projects that you would like to start sooner rather than later?

The band has flirted with the idea of doing a Christmas album, but not in the traditional sense.

We would take some familiar songs and as a quartet put our own spin on them. 

I'm also a huge Prince fan. In 1985, he released an album called "The Family," which was kind of his replacement side project for The Time, which had broken up.

They only released one album. It is the first time that he utilized saxophone in any kind of important way. 

It is also the album where "Nothing Compares 2 U" originates from. We're coming up on 2025, so it will be the 20th anniversary of that album.

I'm strongly thinking about putting together a couple tribute nights to that album.