The event is presented in cooperation with Soldier’s Wish, a group dedicated to meeting the needs of individuals serving in the military.
“These
are family-friendly concerts that pay special tribute and say
‘thank-you’ to all the men and women who are currently serving in our
nation’s military, those who have served before, and their families,” said John Meagher, board chairman for Help Hospitalized Veterans, in a press release. “The Chicago Salute to America concert is just one of many HHV
initiatives that demonstrate our heartfelt appreciation to veterans, and
that is our year-long, daily focus.”
Admission to the Aug. 9 Chicago concert is free on a first-come, first served basis. More information is available by calling
312-413-9875 or emailing uicforum@uic.edu.
During the summer, Chicago area residents have no shortage of music festivals to attend. Setting itself apart from all the others is the inaugural Great American Lobster Fest, which will be held Aug. 16-17 at Navy Pier in Chicago. Local H, Netherfriends, White Mystery, Bailiff, Santah, Hemmingbirds and Kinky Love are among the bands that will perform at the festival. A full schedule is available at http://www.americanlobsterfest.com/music-schedule1/
I had the chance to talk to Band Called Catch frontman Tim Frank and Paper Thick Walls frontman Eric Michaels about the festival. Along with organizing Great American Lobster Fest, their bands will also play at the festival.
Q - The festival features a diverse lineup. In putting together the Great American Lobster Fest, what were your goals?
Tim: While bringing a taste of the East Coast to Chicago was the main
focus, we wanted to make it about more than just great food. When we
started to plan the lineup, our goal was to make sure we had a little
bit for everyone - a nice mix of local and national indie bands, while
at the same time, bringing on some leading tribute acts for the songs we
all know and love - and can sing along to.
Being that it's at Navy Pier
this year, we expect a few more tourists to attend - so it was also
important to make the music very Chicago based. Let folks know what we
sound like around these parts and get some nice exposure for some of
our favorite local acts.
Q - Did you reach out to any bands in particular or did any of the bands
approach you wanting to be part of the festival? Were there any bands
that couldn't commit to this year's festival that you would like to get
to play in the future if the festival continues?
Tim: We heard from a lot of bands, and there were a few that had some
conflicts that we hope to add next year. Since our fest was scheduled a
little later than most fests, our prep time was limited - but we
are extremely happy with what we've put together. For the sake of not
name dropping, we'll leave what we are considering for next year a
surprise, but this is only the beginning.
Q - Summer brings out a countless number of festivals in Chicago. How would
you like the Great American Lobster Fest to stand apart from other
festivals?
Tim: First there's lobster - and other seafood - Chicago's first
full-fledged seafood fest. Then there's Navy Pier - the amazing Grand
Ballroom, and the stage we are bringing in for outside (it's the
indoor/outdoor factor - rain or shine).
Then - oh yeah - the air and
water show happens to be going on... and you're at one of the best
places in the city to view it. Then on Saturday night you get get
fireworks. It's all sort of crazy how it worked out - it was destiny, I
suppose. There's no other fest in Chicago that will give you loads of
fresh lobster choices, an indoor and outdoor stage for 27 bands,
carnival games, and fireworks - all while planes are doing tricks right
above your head.
Q - Of course, your bands are also part of the lineup. What is going on with your bands these days? Are you working on new music?
Tim: Ha! - why not right? We used to do everything we could to get onto
festival lineups and now we're producing our own - so it was hard to
not toss our own bands onto the lineup.
Band Called Catch has been on a
bit of a break as Jess has been touring with "The Man In Black Show"
(playing the June Carter role), and I've been a bit busy with Foxhole -
but we've still found a few spare hours to write some new stuff - we'll
do a new one at the fest. Very exciting.
Eric: I have had to put some of the Paper Thick Walls projects on the
back burner this past year to focus on The Foxhole and The Great
American Lobster Fest, but the band is coming off of a successful
headlining show at Metro and a recent WXRT spin of a track from our
upcoming record, "Dead Cities." This summer we have been focusing on television and film licensing and are planning to release the "Dead Cities" in the fall.
Q - Would you like to see Great American Lobster Fest become an annual tradition? How do you see the festival growing?
Tim: Oh yeah - we've spent the last six months working full time to make
this a reality - there's no question in our minds that this will be an
annual tradition. We have some other plans for this fest and where it
will go - but will leave them a surprise for now!
The future of the blues is in the capable hands of 29-year-old Florida native Selwyn Birchwood. Birchwood started garnering attention when he toured with blues legend Sonny Rhodes at the age of 19. Last year, Birchwood won the esteemed International Blues Challenge.
The fresh energy and passion that Birchwood brings to the blues is on full display on "Don't Call No Ambulance," his debut CD for Chicago-based Alligator Records.
Birchwood, www.selwynbirchwood.com, will perform July 31 at S.P.A.C.E., 1245, Chicago Ave., Evanston, with fellow Alligator Records guitar slinger Jarekus Singleton. The show starts at 8 p.m. and tickets are available at www.ticketweb.com. I had the chance to talk to Birchwood about the new album.
Q - You performed in June at the Chicago Blues Festival. How was that experience and what did you learn from it?
The
Chicago Blues Fest was incredible. It was great to see that there is
still that much support for Blues.
The Chicago Fest was a little
different in the fact that they had a majority of actual blues bands.
Sometimes you can arrive at a "blues fest" and hear anything but the blues.
Q - Blues legend Sonny Rhodes took you under his wing and you toured with him when you were 19. What were the
most important things that he taught you and how do you think your music has evolved since then?
I
really learned a lot about what the lifestyle of a touring musician was
from Sonny. He taught me what to do and what not to do, and what is
expected of a band leader.
I'm forever grateful that he let me ride his
coattails in that regard. Being on the road with Sonny was really
inspiring.
Once I saw the level of talent that was out there and the
amount of excitement at the Blues festivals etc., it only increased my
ambition to
pursue this career.
Q - Of
course, you recently released your third CD, "Don't Call No Ambulance,"
which is your debut on Chicago-based Alligator Records. What goals did
you have for the album and do you think you achieved them? What is it
like being on a label that has been home to so many music legends over
the years?
I
didn't have any real goals for the record once it was released. My
goals were all in the recording process.
I just wanted to have the
record be a close representation of our original music in our live
shows. I think that the CD came out pretty well and it's been received
greatly so far.
It's
very surreal to be on Alligator. A lot of my favorite artists recorded
for Bruce and it's flattering to have the opportunity to work with him.
Q - Your band placed first at the 2013 International Blues Challenge and you also took home the Albert King Guitarist Of The Year award that same year. Are you
surprised at how well your music has been received? What do you think
separates you from other musicians?
I
was ecstatic that we won the competition. I always tell people, and I
mean it, that you shouldn't focus on the competition, but rather the
networking opportunities.
I felt that we had a chance to do well in the
competition because I thought we fit the judging criteria well, but
never got my hopes up on actually winning. It's too subjective to do
that.
Every judge has their own taste and you may, or may not fit that. I
think that our original material and stage presentation separate us
from some of the other bands. We do almost all original material and try
to put on
an energetic and fun show.
Q - Through
your music, are you trying to bring the blues to a new generation of
fans? Do you feel a responsibility to carry on the blues tradition? What
do you think of the current blues scene and how do you think it can be
improved?
We're
really just trying to make good music and get it out to as many
audiences as we can. I think if you do that, a lot of other things will
fall into place.
Q - Jarekus Singleton, who also is signed to Alligator
Records, is your age. What do you think about his music and what he is bringing to the blues scene?
I
really dig what Jarekus is doing. I think he is doing a lot of what we
are trying to do, as far as bringing a fresh vibe and feel to the music,
but from a different angle.
That's one of my favorite things about this
music. You can inject your own perspective and personality into it!
Q - You
switch up between a six-string guitar and lap steel. In sitting down
and writing a song, how do you decide which instrument to use? What is
your writing process? Do you write the music first and then the lyrics,
or vice versa?
I
don't have any set approach to writing. I
get inspired by certain sounds, situations, feelings, pretty much
anything. I try to just build from that inspiration in whatever way
seems fit.
Q - Do you have any dream projects or collaborations?
I
don't really have any dream projects or collaborations. I just want to
play good music. Buddy Guy was the first to inspire me into Blues music,
so it would be very cool to sit in with him though.
Starting this fall, Chicago's theatre scene will get even more vibrant.
Skyline StageWorks, a new Chicago theatre company dedicated to connecting exceptional
artists with classic stories in intimate productions, will present the world premiere of "Shakespeare’s Antony and Cleopatra: UNDONE."
"Shakespeare’s Antony and Cleopatra" will run from Sept. 5 to Oct. 5 at The Side Project, 1439 W. Jarvis Ave., Chicago, with performances taking
place at 8 p.m. Thursdays through Saturdays and at 3 p.m. Sundays. Tickets are $15 and can be purchased at www.brownpaperticket.com, or at the door.
I had the chance to talk to Shawna Tucker, who co-wrote the adaptation and who plays Cleopatra in "Shakespeare’s Antony and Cleopatra," about the upcoming production.
Q - Great
talking to you. "Shakespeare’s Antony and Cleopatra: Undone" is Skyline
StageWorks' inaugural production. How do you think the production fits
in with Skyline's mission?
Skyline
StageWorks aspires to create work that will touch the mind and heart.
We’re interested in giving the audience a memorable experience.
The
raw, all-out Chicago aesthetic has been my goal since the beginning of
my career, and most of the time I do not see that aesthetic with
Shakespeare productions. I’ve long felt Shakespeare is the ideal
playwright for a raw, organic, in-the-moment, explosive approach.
His
works are so often seen as just genteel. We’ve taken a play that isn’t
produced as much as many of his others, and rebuilt it so it can be seen
up close and personal, on a small, intimate stage.
Our goal is to let
the big emotions and characters of Shakespeare wash over the audience.
Q - You
co-wrote the play with Patricia Henritze and the play itself is based
on Shakespeare's "Antony and Cleopatra." What were your goals in
presenting this updated version of the story and what would you like
audiences to come away with from the production?
The
play isn’t actually “based on” Shakespeare’s play or an update, it IS
Shakespeare’s play. Everything that is in our play is in his.
We wanted to focus more on the relationship of the title characters than
on the world politics of Shakespeare’s original, and highlight the
gorgeous poetry. The poetry, too often not heard out loud, is one of the
“gifts” we want to give to our audiences.
It is utterly, utterly
gorgeous. Most people don’t study this play in school, and they don’t
know what they are missing!
Q - You
also will be playing Cleopatra in the production. Do you think the fact
that you co-wrote the play gives you additional insight into the
character and how she should be portrayed in the production?
Perhaps
the greatest advantage is that I’ve been able to spend more time
rehearsing the character. I have a history background and I love doing
research for any part I play.
I did a tremendous amount of research in
the course of working on the play – all of which helps when approaching
the part as an actress. I read numerous biographies of Cleopatra and
Antony, and commentary on their legacy.
I’ve also read as much as I’ve
can about previous productions to try to discover what worked and what
didn’t in the production of the play. There are not many productions of
Shakespeare’s original play that are considered unqualified successes.
Even though we are not bringing the entire play to an audience, we are
hoping that our version will whet some appetites for Shakespeare in
general, and his “Antony and Cleopatra” in particular.
Q - You
are heavily involved in the Chicago theatre scene. How do you think the
Chicago theatre scene compares to other theatre scenes around the
country?
Chicago’s
theater scene is incomparable. I trained here, and this is actually the
third time my family has relocated to the area after moving away twice.
Other cities have advantages, but the size of the theater community
here, and the strength of both the union and non-union theater
communities make Chicago exceptional. Critics, audiences, and theater
artists take both communities very seriously and there is a level of
support for theater in general that is inspiring.
When you are newly
arrived in Chicago, all sorts of theaters are eager to see you audition.
Even though other cities’ theater communities are smaller, getting your
foot in the door in Chicago is a heck of a lot easier than anywhere
else I’ve lived.
Q - What do you think distinguishes Skyline StageWorks from other theatre groups in Chicago?
As
you mentioned, I’ve lived and worked in a number of cities. Each city
has a different theater personality.
Though I like Chicago’s the best,
there are some amazing facets of the other communities where I have
lived and worked. I am hoping to bring the best aspects of the theater
from the other cities and combine them at Skyline StageWorks.
We’re
focused on immediacy and intimacy, which is from Chicago. But since I’ve
moved around a lot I have also learned the importance of making new
friends.
Reaching out to people who aren’t regular theatergoers is also
part of what we want to do at Skyline StageWorks.
By ERIC SCHELKOPF Chicago's The Public House Theatre, 3914 N. Clark St., will examine the relationship we have with our possessions during "It's Still Life," which will be presented fromJuly 10 to July 31. Showtime is at 8 p.m. each night and tickets are $10, available by calling 1-800-650-6449 or at PubHouseTheatre.com.
I had the chance to talk to director Ashley Nicole Black about the play.
Q - Great talking to you. What made you want to direct the play? What would you like for the audience to take away from it?
The
cast! I was familiar with some of their work already, and when I saw
the rest of them work I thought they were all so smart, and funny in
unique ways.
I’d
like the audience to take away an appreciation for the small moments:
in life, in watching a piece of theatre, the time we spend searching for
our keys…. observation is the impetus of comedy.
Q - You moved from Los Angeles
to Chicago and I understand you fell in love with the Chicago theatre
scene. What was it about the scene that attracted you? How is Chicago's
theatre scene different than the one in Los Angeles?
Chicago is the first place I’ve lived where theatre felt so“anything goes." Pretty much any idea for a show you have, you can find someone in this
city who wants to collaborate on it, and a theatre in which to do it
(for not a ridiculous sum of money!) The Los Angeles theatre scene is
much more professionally focused. Like, “What will it do for my career to do this show?” as opposed to “What will I learn from doing this show?” Neither is wrong, I just think it helps to do it the Chicago way first.
Q - You are also a comedy
writing teacher at The Second City Training Center. What do you try to
convey to your students? Why do you think that Chicago is such a hotbed
of comedy talent?
I
try to help my students find their own voices. I never thought I would
get so heavily into teaching, but it turns out nothing is more rewarding
than helping someone find their own point of view.
I think they think I’m there to teach them the “right” way to write, and I will, but I’m much more interested in helping them find their own way to do it.
I think the Chicago theatre scene is so “hot” right now, because it's an incubator. See what I did there?
A lot of the performers I meet aren’t looking for agents, or trying to get famous, they are focused on craft. This is the only place where I’ve
seen such a concentration of people like that.
Of course, we have some
of the best teachers in the world concentrated here as well and that
helps a lot too. But a city full of people focused on getting great at
comedy means two things, community and competition.
Community feels
good, competition feels terrible; but both create an environment where
everyone gets better faster than they would have alone.
Now in its ninth year, Celebrate Clark Street World Music Festival will once again showcase a culturally rich musical lineup when it takes place July 19 and 20 in Rogers Park in Chicago.
Curated by the Sound Culture Center for Global Arts, Celebrate Clark Street will take place on Clark Street between Morse and Estes avenues, and a $5 per person donation is requested. Proceeds help fund programs such as the beautification of commercial corridors and the Glenwood Sunday Market in Rogers Park. I had the chance to talk to Sound Culture founder David Chavez about the upcoming festival.
Q - Great
talking to you. In putting together this year's lineup for Celebrate
Clark Street World Music Festival, what were your goals?
It's always a balance between helping to break new artists, representing
the diversity of the community on stage, providing a platform for local
world music artists, and booking things that have a story and will
attract an audience beyond Rogers Park.
Q - How do you think this year's lineup compares to previous lineups?
I think it's pretty solid. I never know who’s going to be touring in
the region around this particular weekend, so it's always interesting to
see the mix of artists.
Q - Are there any acts in this year's festival that you are particularly excited about?
I always love Ricardo Lemvo and Makina Loca. He has a new album out;
it's the perfect mix of an Afro Latin dance party. Cumbia
Machin is a one-man Electro Cumbia Party playing sequencers and an
instrument called the Zendrum (due to having Focal Dystonia in his
right hand).
Cheick Hamala
Diabate is a Grammy-nominated artist who just electrifies Malian dance
music with his n’goni instrument. Rafi eL is from LA and he's been
exploring Latin folk music through a contemporary lens, often
integrating electronic and global bass music. Kosta Kostov is a
Bulgarian-born DJ/producer based out of Cologne, Germany who I met last
fall in the UK; he integrates traditional and electronic Balkan beats
with live musicians into his sets; should be a party. There are so many
that I really like; locals Funkadesi and Fareed Haque, as well as Dos
Santos and Vicios de Papa are party starters as well. And we have, for
the fist time, Four Star Brass doing a set for us: NOLA style brass with
Chicago twists.
Q - You founded the Sound Culture Center for Global Arts in 2009. In
establishing the Sound Culture Center, what were your goals and do you
think you accomplished them?
I think as Sound Culture has evolved so have my goals. I definitely
think I achieved what I set out to when I first started Sound Culture,
creating a trusted and consistent platform for "putting the world on
stage.” I've seen so many more venues and festivals in Chicago now [that
are] integrating world music into their programming. For me, the more
people who experience world cultures first hand, even as a live music
performance, the more we break down the barriers of assumption or
prejudice about one another. That's always been my goal.
Q - I understand that when you were 12, you were chosen to be part of a
month-long school trip for a youth cultural exchange program to Cuba. Do
you think that helped spur your interest in world music?
Most definitely! It was a place where many countries had delegations of
youth that we would interact with on a daily basis, through activities
and, a lot of times, through translators. I feel like that's what
sparked my interest in other cultures and thus world music. That one
trip showed me first hand how we are all more alike than different, and
I've been back to Cuba four times since then; it's been what has perhaps
shaped my world view from a very young age.
Q - What do you think of the world music scene in Chicago? Do you think the
Sound Culture Center has helped to spur more of a world music scene in
Chicago?
I think it's growing, I think the boundaries of music genres in general
are morphing into each other. I think we've had some affect on the
growth of the world music audience in Chicago and I'm very proud of
that.
Q - What is the future of the Sound Culture Center? How do you see it evolving?
I'm not quite sure yet. It's always been an organic evolution, sometime
without me even noticing. I have been doing more work in the Global Bass
scene however, starting to blur the lines between the traditional world
music community and an emerging class of new globalistas. It probably
helps that I've been DJ'ing since college and have a special interest in
electronic dance music, in particular where it concerns world music. We'll see where it all leads, but it's been a great ride thus far!
Chicago is not only the city of big shoulders, it is also a city of many cultures. "Surabhi: A Melting Pot of Music"
brings together musicians and dancers from the city’s flamenco and
Indian music scenes. Surabhi features dual leads Saraswathi Ranganathan on the South Indian
Veena and Carlo Basile on flamenco guitar.
"Surabhi: A Melting Pot of Music" will take place from 6:30 to 7:45 p.m. July 9 in the Garfield Park Conservatory, 300 N. Central Park Ave., Chicago. Admission is free and the event is open to all ages.
I had the chance to Sara and Carlo about the upcoming show.
Q - Great to talk to the both of you. Want made you want to be a part of an event like this?
Carlo:
For me, I have always enjoyed our collaborations of Indian and Spanish
guitar music. When we add the dance element from both cultures, it's
even more enjoyable.
Sara: When the City of Chicago was calling for proposals, I thought it
would be wonderful to present artistic music that will appeal to a cross
cultural audience, which is what our collaboration has been about, all
along.
And sure enough we were part of a few music groups handpicked to
be on this fun event. The event is also about bringing in artistic music
to areas of the city that have restricted access to our kind of music
and dance.
So, it all worked out!
Q - Sara, I know that your mother introduced you to the Veena when you were 6
years old. Was it a hard instrument to learn? I know you also teach
classes. What is some of the advice that you give to your students?
Sara:
Interestingly the Veena, much like the piano, is the first 'go to'
beginner instrument for learning South Indian Carnatic music (at least
it used to be when I was learning). The frets (like the keys) are pretty
straightforward and simple to learn at the beginner level.
But to
master the instrument, get the microtones and subtle intonations - and
to be able to 'vocalize' the sound is very challenging. I tell my
students to listen to a lot of good music, practice and to be in love
with it.
So over time, their love and patience will be amply rewarded!
Q - Sara, you have earned many rave reviews for your musicianship. What have
you tried to do that separates you from other Veena players?
Sara: I endeavor to keep myself open to different sounds from multiple
musical genres. Plus my own strong foundation in South Indian classical
music helps with deeper understanding of these various genres.
This
approach has helped me with presenting a unique versatile side of the
Veena that has a more global presence. In fact it is perhaps one of the
reasons I was the first Veena player to be picked for the "Jungle Book"
musical directed by Mary Zimmerman.
It's the first time a Veena artist
has been featured in an off Broadway show!
Q - Carlo, your flamenco guitar playing also has earned you rave reviews.
How do you think your playing has evolved since you first started? What
do you think makes you stand out from other players?
Carlo: I actually specialize more in Spanish classical guitar and I
received a master's degree in that area. However, I have studied
flamenco in Spain as well as R&B styles here in Chicago.
I also have
been to Africa (Morocco, Senegal, Mali) and other places to learn more
guitar styles too. So, I think I might just now be feeling like I have
enough materials to create, compose and collaborate at a fairly high
level.
I also feel like I am willing to take some "musical risks" (for
better or worse). So, perhaps, all of those things might make me stand
out a bit from other players.
Q - Carlo, you also collaborate with other musicians on a regular basis,
such as your work in the production "Cascabel" and in the group Las
Guitarras de Espana. Do you prefer working on your own or with other
people, or do you need both in your life?
Carlo: I need both! Just when you get tired of working by yourself, it's
fun to revisit some old collaborations and, perhaps, pick up where you
left off. Then it's nice to be alone again.
Perhaps, some time to study
again. Then the creative cycle starts again...and so on.
Q - What is next for the both of you? Do you have any dream projects or collaborations?
Carlo: I have really been blessed to take some of these collaborations
so far. I have a wonderful family of musician friends from African,
Indian, Asian, Hispanic, and Arabic cultures to work on new projects
with. I am sure something will come up!
Sara: My goal has always been to put the Veena up there on the international
map. To that end I have been giving individual as well as collaborative
presentations.
I have a few projects that I am working on which are in
the initial stages of taking shape. I am also excited about the upcoming
World Music festival this fall.
I am grateful for my experience working
with talented artistes in my collaborative work!
