French band Paris Combo bringing critically acclaimed sound to Chicago

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

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

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

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

 

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

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

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

 

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

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

 

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

 

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

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

 

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

 

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

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

 

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

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

 

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

 

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

 

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

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

 

Studio Mangiameli presenting fifth annual show in Chicago

By ERIC SCHELKOPF

Chiara Mangiameli earned rave reviews last year for her performance in the theatrical show "Cascabel" with master chef Rick Bayless.
 
Now, Mangiameli, www.studiomangiameli.com, will bring her production,  "Quejios - Cries In The Air," to the Vittum Theater, 1012 N. Noble St., Chicago. 

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

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


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

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

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

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

Q - Alfonso Cid is a guest singer in the production. What do you think he adds to the project?
 
I met Alfonso years ago while performing with Las Guitarras De España and I've wanted to work with him ever since. He grew up with flamenco in his native city of Seville, Spain, and has also been through a very rigorous training process to learn vocal technique and the history of various "palos" (song forms in flamenco). 

He adds tremendous versatility, knowledge and of course the kind of power that is necessary to accompany several dancers, while always providing the appropriate mood and emotional backbone to fuel the dance.
 
Q - How do you think the flamenco dancing scene in Chicago compares to other parts of the country? What sets flamenco dance apart from other forms of dance?
 
I think the scene in Chicago is relatively small but growing all the time. There seems to be more interest in the dance and guitar element and not as much in the singing as you might find in cities such as New York or Albuquerque.
 

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

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

Q - What do you enjoy about teaching flamenco dancing? What do your students teach you?
 
The best part for me is the rhythm: the musicality and dynamics that you can achieve not only with your feet but with a hand movement, a shrug, anything that shows that the music is alive in you and working its way through the body.
 
My students teach me that not everyone learns the same way, everyone has their own way of processing information. They constantly remind me to be patient and to maintain a sense of humor about it all.

 

Q - You earned rave reviews for your work last year with Rick Bayless in the Lookingglass Theater production of "Cascabel." How was that experience and would you do something like that again?
 
The experience was phenomenal. After leaving the stage many years ago I was presented with an opportunity to use my acting background, singing and flamenco dance all in one role. My life felt like It was coming full circle…. not something you experience very often.

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

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

Acclaimed British band Clinic coming to Chicago

By ERIC SCHELKOPF

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To hear challenging and interesting songs on the radio in Europe is somewhat of a rarity. However, we love the eclectic and varied stations you have here.
 
We have never felt pressure to move away from Liverpool (apart from the bad radio stations.) I think being comfortable geographically is a good starting point to being creative.

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

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

Brian - We wanted people to focus directly on the music rather than the individuals that made up the band. Some people join bands to seek attention.
 
We joined the band solely to create music, so seeing your face in a music magazine wasn't the goal, having the music written about - was. It was also a great way to stand out from all the other bands at the time, and it also gave journalists something else to talk about too.
 
I think people in America quite liked the "British eccentricity - Monty Pythonesque" element that it has and they also saw the funny side of it.  

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

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

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

Time was of the essence as studio time wasn’t cheap. Today in comparison, the recording process is relatively inexpensive and without those time constraints, it's easier to experiment and hone your craft in the luxury of your own home.
 
But it is definitely more difficult to make a living out of music today. The business model has altered drastically and it is still changing.
 
The way the music is made and compiled and the way it is ‘acquired’ by the listener has changed dramatically. Less money is coming into the industry so less risks are being taken by labels.
 
Less bands are being signed and therefore new challenging music will have to find different ways to reach us. Cottage industry is and will play a big part in getting new and exciting music out there. 

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

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

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

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

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

Chicago band Counterfeit i takes musical chances on new EP

By ERIC SCHELKOPF

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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