Music

CelloBello Celebrates Chamber Music – The Arts Club of Chicago – April 24, 2024

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I wanted to ask Katina Kleijn, one of the featured cellists (with Ken Olsen and Brant Taylor), what she thought about the name CelloBello, as opposed to, say, CelloBella or CellaBella, but I restrained myself. After all, I live for rhymes, and Cella translates to cell.

All the music was terrific, but, for me, the highlight of the first half of the program was, of course, the rendition of The Boogie-Woogie Bugle Boy, featuring three cellos (celli?) and some wicked piano-playing by Craig Terry, whom I told afterward I hated because he was so good at what I yearned to master (I’m currently attempting Death Ray Boogie, which is just as scary as it sounds).

There also was a bit with an unlit cigarette dangling from Taylor’s mouth during part of his solo that you had to be there to appreciate.

Unlike many of these events, there was nothing that I would derogatorily classify as speechifying. The oratory was interesting and kept to a minimum, and there was cheese available at the back of the room all the while, just in case. Moreover, all the appetizers were excellent and the deserts did not escape my attention.

The second half was a rousing rendition of Mendelssohn’s Octet in E-flat major, Op. 20 performed by the Balourdet and Pacifica Quartets.

These eight musicians got more exercise during the piece than I ever did in a Pilates class. Some of the violinists were swaying, bobbing and weaving like a bunch of fans doing an energetic version of the wave at a football game. They were clearly having a great time, as was the audience. One of the viola players occasionally seemed to be imagining that he was using a ThighMaster.

The exercise regimen continued, especially for the cellists, as the group, at the end of the concert, all the while carrying their instruments, kept coming back for more deserved applause.

They may still be doing that, but I bolted (at least my version on two bad knees), grabbing brownies on the way out and being the first person to arrive at the coat check, a perfect ending to a wonderful evening.

Chicago Sings Broadway Pop II – House of Blues – April 15, 2024

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I wasn’t even at the venue yet and already was having a good time as I walked past the post office and saw the long line of last-minute tax filers, of whom I joyously was not a member, nervously double-checking their precious cargo with only 45 minutes before closing to get their valued postmarks.

The annual Porchlight Music Theatre spring event once again hit all the right notes and was an even better experience than last year’s first exploration of Broadway Pop.

The food, which was excellent, was easier to obtain this year, set out on a buffet table so that we didn’t have to huddle near the door to the kitchen to intercept staff as they emerged with trays of appetizers that were voraciously attacked and emptied within seconds. It also allowed for something other than finger food, which sounds cannibalistic. As a side note (like almost everything I write), we ate off bamboo plates, a first for me, for the full panda experience.

The performances were, as always, first rate. I’ll mention a few. Billy Rude, whom I last saw in Pump Boys and Dinettes, once again put his rock ’n’ roll talents on display with a rousing rendition of Johnny B. Goode, currently featured in the stage musical version of Back to the Future.

Nik Kmiecik also broke out his axe in Pinball Wizard (Tommy), a turn that only lacked a Pete Townsend-like demolition at the end, problem due to budget constraints and the fact that he needed it again later to lead the audience in a participatory rendition of Sweet Caroline (A Beautiful Noise), as is the custom with this classic, perhaps more so than with any tune outside the Star Spangled Banner.

The dancers made me dream of what it must be like to be flexible, but, my one disappointment, which carries over from last year, was that there was no tapping. I recovered from that psychological trauma thanks to the great mood that pervaded the room.

The star of the night for many was Kelly Felthous, whose The History of Wrong Guys (Kinky Boots) put her singing and comedic talents on full display. She even threw in a dance split in the middle of the song for no discernible reason other than she could. Bonus points for that.

Grant Park Music Festival – 2024 Festival Season 
Highlights Presentation – February 22, 2024

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Even in winter, with the glass doors closed the Pritzker Pavilion stage at Millennium Park is warm and cozy. As is my wont, I hung out near the back, near the food, in a spot probably inhabited by a percussionist during a summer concert.

As to the hors d’oeuvres, who decided long ago that kabobs were the way to go at such events? They’re really not finger food. Eating off a stick just doesn’t measure up to eating off the bone. They don’t slide easily off the holder, perhaps because they’re usually too dry unless you dip them in some messier than tasty sauce, and you risk impaling the inside of your mouth with the sharp end. But the wine and cheese were good.

The program was better. Christopher Bell, Director of the Grant Park Chorus, walked around in a natty hat, looking a lot like a Truman Capote impressionist, and gave us a rare insight to a normally well-guarded secret, of which we were not sworn to secrecy, so here it is.

During last year’s Chicago Nascar event, Bell became aware of, and fascinated by the fact that, a driver of the same name was competing in the race. One thing led to another, and Nascar will be sponsoring this year’s 4th of July concert and Chicago’s Bell will be wearing (this part’s the usual non-reveal) a special Nascar racing suit with the number 1 on it (also with, I assume, some red, white and blue).

Two musicians from the orchestra performed beautifully (sorry, I didn’t get their names), separately, one playing the double bass and one the marimba.

Carlos Kalmar spoke about his upcoming final season as the orchestra’s conductor, aided by some recorded selections from this year’s lineup, and one that was inserted accidentally, not that any of us would have noticed had he not pointed out the faux pas. He was very pleased to tell us that his final concert will include a Vienna children’s choir directed by his daughter.

After the bassist played a second short piece to close the program, and the audience rose to clap, I made my quick exit (first one to the coat rack!), walking past Kalmar, who was standing in the wings. I expressed my surprise that my departure had been greeted with such applause, which brought a smile to his face, so I guess we’re buddies now.

2024 GRAMMY Awards – Los Angeles – February 4, 2024 (Guest Blogger – Samme Orwig)

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The atmospheric river that hit Los Angeles County did nothing to dampen the spirits of those attending the 66th GRAMMY Awards. Armed with storm ponchos and umbrellas, we made our way into the Premiere Ceremony at noon – before the rain began – and settled in for the three-hour, YouTube-streamed program where many of the lesser-known, but equally-important, performers, receive awards in 80 or so categories, such as Best Album Notes, Best Americana Performance, Best Remixed Recording (whatever that is?) and Best Large Jazz Ensemble Album.

We were there to root for Chicago and Chicago-adjacent musicians such as Laura Strickling and Daniel Schlosberg (nominees for #92, Best Classical Solo Vocal Album), Jessie Montgomery (#94, Best Contemporary Classical Composition, which she won!), Pacifica Quartet, and most of all, Third Coast Percussion, a four-man ensemble marking its seventh trip to L.A. as GRAMMY nominees.

Did it matter to us that Third Coast Percussion was up against classical fan favorites Yo-Yo Ma, Emanuel Ax, and Leonidas Kavakos? No! And it didn’t matter to the Recording Academy voters, either; they chose Roomful of Teeth (love the name) for #90, the Chamber/Small Ensemble GRAMMY.

With a measure of humble disappointment, and rain paraphernalia in hand, we made our way through a downpour to the vast Crypto Arena (formerly Staples Center), where the pop production emceed by the gifted and upbeat Trevor Noah was about to begin. This made-for-TV show does not disappoint. Some of the icons performing this year included Billy Joel, Miley Cyrus, and Dua Lipa, whose lively opening act, “Training Season,” was choreographed in and through a huge cube-shaped jungle gym that dancers lifted, rotated, and carried across the floor. Note to self: my workout routine is impossibly dull.

Some of the finest moments, though, tapped into history. There was Joni Mitchell, making her GRAMMY show debut at age 80!; Stevie Wonder recounting Tony Bennett’s enduring influence; Luke Combs talking about Tracy Chapman’s 1988 hit “Fast Car.” And we were schooled in the history of Memphis Soul when award #77, Best Album Notes, was announced. The winner? Writers Robert Gordon & Deanie Parker, for Written In Their Soul: The Stax Songwriter Demos.

The duo’s concise comments, scripted to fit within the 45-second time limit, represented less an acceptance speech and more a narrative of Stax Records and the phenomenal years of research that went into this project. But … had Gordon and Parker written a second, equally compelling acceptance script, just in case Written In Their Soul won award #78, Best Historical Album? Yes, they had! (For more history on this project, Stax Records, and Deanie’s career there, see this New Yorker article.)

As great as everything was, something was still missing, so I created a few more award categories. They are:

Long Overdue Award: Miguel Zenon, who finally won his first GRAMMY Award after 12 nominations (Best Latin Jazz Album).

Vivacious Energy Award: For the way boygenius members Julien Baker, Phoebe Bridgers, and Lucy Dacus bolted up to the podium to claim their first GRAMMY. And then returned to the stage, still overjoyed, to pick up their second.

There’s Nothing Wrong With Being Perfectly Charming Award: To singer-songwriter-guitarist-cellist Laufey (it’s pronounced LEY-Vey, y’all), singing “From the Start.” See for yourself.

Best Riff on Classic Rock Tunes Award: Brandi Clark’s “Dear Insecurity,” whose first few measures evoke the seemingly impossible combination of “Don’t Stand So Close to Me” and “Desperado.”

Most Complementary Back-Up Band Award: SistaStrings, which performed the role of expert House Band to anyone needing string orchestration.

Best Grammy Moment Award, No Contest: Tracy Chapman and Luke Combs singing Chapman’s “Fast Car” together.

Pacifica Quartet – Mandel Hall – January 27, 2024

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The last time I saw a concert at Mandel Hall, over fifty years ago, it was Chuck Berry singing and playing his guitar for three straight hours, while throwing in an impressive display of duckwalking across the stage.

The old place looked much the same to me, only nicer, and more comfortable. Sure enough, I found that it had been renovated in 2013.

The Pacifica Quartet, the 2023-24 Ensemble in Residence, stayed in their chairs and didn’t sing about school days, but, like Berry, they probably have something Beethoven in their repertoire, and sure can pluck those strings, though they only deal with four each, while Berry had six.

Behind the quartet, the University of Chicago Symphony Orchestra barely squeezed onto the stage, leaving no room for duckwalking even if they wanted to. They probably had to pick pieces with short bow strokes to avoid hitting each other.

The two groups combined beautifully for Paulus’s Three Places of Enlightenment, while the orchestra nicely opened with Montgomery’s Starburst and closed with Suk’s Scherzo fantastique, Op.25.

I didn’t leave with an earworm of Berry’s double-stop licks, unison bends, and major-minor modal shifts, but felt very entertained, relaxed and satisfied.

Chicago Symphony Orchestra – Symphony Center – October 24, 2023

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What a great program, starting with Barber’s The School for Scandal Overture, followed by a short break to raise the grand piano to center stage from below, which for some reason I always get a kick out of. I wouldn’t mind them bringing the whole orchestra up from below, maybe with the aid of a fog machine.

We were then treated to Conrad Tao playing Gershwin’s Piano Concerto in F, which reminded me of Michelle Cann’s rendition of Gershwin’s Rhapsody in Blue I saw a few months ago in the way that the music seems to enliven the musician. I kept envisioning a Tao bobblehead giveaway day, but the CSO failed me in that regard.

Tao started choking up before his encore when telling the audience how much he appreciated their applause, having grown up going to concerts at Symphony Center. He then favored us with his transcription of the 1953 (as opposed to 1939) Art Tatum recording of Somewhere Over the Rainbow. I love Tatum and Tao did him justice.

After all that, we were just getting started, coming back after intermission with Bernstein’s Symphonic Dances from West Side Story, complete with finger snapping, and ending with Sensemaya by Silvestre Revueltas, an enjoyable piece that was new to me.

Chicago Live – Navy Pier – September 23-24, 2023

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Navy Pier, it’s not just for tourists. Well, maybe most of the time, but not at Chicago Live.

Important information I picked up.

From Theo Ubique Theatre – how they pronounce Ubique. Their presentation of Sondheim songs, including Not Getting Married Today, led me to watch again, online, the great rendition by Katie Finneran.

From the Filament Theatre two-person presentation of something (I don’t what, I was just passing by the stage when they caught my attention) that “It’s hard to balance on invisible legs.”

From the young lady at the Hot Tix booth with an acting degree who currently works as a carpenter at local theaters, that the Nacirema (Society), in the name of the current play at the Goodman, is American spelled backwards. Doh!

Also, it sounds like Hot Tix is considering a membership that would allow you to pick your seat, something I could get behind.

From the marvelous Lucy Darling, that she is going to be the emcee of the new Teatro ZinZanni show opening in October. Lucy did a standard empty bag trick, while insulting audience members in a way that would make Don Rickles proud. The contortionist, Ulzii Mergen, also appeared, being attractive, impressive and cringeworthy all at the same time.

Other stuff I saw.

Porchlight Music Theatre promoting its upcoming Cole Porter Festival, which, I am excited to say, will feature Meghan (Big Red) Murphy in the role of Reno Sweeney in Anything Goes. I have it on good information that playing this part has been on her bucket list. I liked Porchlight’s rendition of Now You Has Jazz better than Bing Crosby’s in High Society, though, I admit, having Louis Armstrong playing the trumpet did work in Crosby’s favor.

Lots of percussion – from third Coast Percussion and from a Chicago Philharmonic trio, whose sound was such that I kept waiting for dancers wearing big construction boots and carrying large trash cans to appear.

Dancers did appear for me at Culture Shock Chicago and Chicago Tap Theatre (as my readers know, you can never have enough tap).

Victor Garcia giving a master class on the use of the trumpet mute.

A DJ at a classic show tunes stage presenting a geographical music tour – I heard Kansas City (Oklahoma), Iowa Stubborn (Music Man), and Ohio (Wonderful Town).

Chronologically, the American Blues Theater’s road trip had me from the 50s opening Chuck Berry guitar riff of Johnny B. Goode (though sadly no duck-walking) and cemented my interest with the 60s CCR hit Down on the Corner (which was the song that sustained me while poring over the course catalog junior year of college looking for a new major). I’ll skip ahead to the 2000s to mention Taylor Swift’s Shake It Off because her appearance at the Bears game was apparently the biggest news in the NFL Sunday and thankfully overshadowed the high school team wearing their jerseys against Kansas City.

I love the Black Ensemble Theater but I have to say that I would have liked to hear the performance of Piece of My Heart emulate, not Janis Joplin, but rather the original Emma Franklin version.

Dee Alexander was new to me, but smooth as could be (with a great band behind her). I’ll watch for her in the future and be back at Chicago Live for more next year.

Friday Noonday Concert – Fourth Presbyterian Church – September 15, 2023

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I haven’t been bowling in many, many years, but today I went Bolling, Claude that is, the famous French pianist, composer, arranger and conductor, a couple of whose compositions made up the program presented by the Richard Sladek Trio (plus one).

Bolling’s jazz compositions have been on my radar for a while but I haven’t worked up the nerve to try to learn one of them after listening to his recordings. My fingers don’t function on that level.

Listening to Sladek at the piano seemed like a much better idea. And it paid a psychic dividend of a sort. In reading his bio in the program, I first was struck by the fact that, among his past gigs, he had been a staff accompanist for the Second City Touring Company. My kind of guy.

Reading further, skipping over all his other credits, something else caught my eye. He’d been a musical composer/conductor for 16 years with the theater troupe Wavelength. I was there when Wavelength was born, having taken improv classes with its founder, Jim Winter, with whom, and two others (one of them being Paul Raci, the Academy Award-nominated actor I wrote about two years ago), I actually sang the Banana Boat song on the Second City stage during a skit (as previously reported), which goes a long way toward explaining why I wasn’t invited to join the new group being formed at that time.

If I had only hit one or two notes correctly, who knows. But things turned out pretty well, so I was satisfied with introducing myself to Sladek after the performance and sending my regards to Jim, my long-ago friend from another life.

Chicago Jazz Festival – Millennium Park – September 3, 2023

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In some year before I started writing this blog I saw Petra’s Recession Seven somewhere, I think. And I’ve seen clips of them on YouTube, I think. I liked their music, I think.

Probably good enough, when combined with their promotion as performing traditional jazz and swing from the 20s, 30s and 40s, for me to brave the heat and potential crowds to go see them. And then, surprise, I read that bandleader and singer Petra van Nuis is married to guitarist Andy Brown, whom I have enjoyed and written very favorably about on several occasions, I know.

So, it was off to the Von Freeman Pavilion for an hour of smooth nostalgia, with a seat in the shade, including songs from Louis Armstrong, Fats Waller, Billie Holiday and Cole Porter and appropriately finishing with King Oliver’s Doctor Jazz, a song I fondly remember hearing the Ezra Quantine Ragtime Memorial Band play many times in local clubs in the 1970s, I think.

Fourth Presbyterian Church Noonday Concert and Chicago Jazz Festival – September 1, 2023

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At the church, Ashley Ertz (oboe) and Lillia Woolschlager (piano) treated us with a Samuel Coleridge-Taylor piece I can’t remember the name of, possibly because I never looked at it in the program. 

I didn’t stay for the rest of the concert, featuring composers unknown to me, and compositions from the latter half of the 20th century, a potential red flag for me, though, I admit, the music wafting through the Sanctuary as I left sounded like something I might have liked. But I had other fish, or beignets, to fry and so headed for the Jazz Festival.  

As promised to myself last week after seeing the Juan Pastor trio at the Noonday Concert, I went to see Pastor’s Chincahno, expecting a quintet, but pleasantly surprised to hear a septet, whose sound filled Millennium Park with Peruvian-inspired top-tapping rhythms.    

And, as with any music festival worth its salt, a wide variety of overpriced t-shirts were available for purchase.  

More interestingly, there was a creole food stand, whose offerings included the aforementioned beignets. The last time I had one of those, it was with a cup of coffee and chicory, sitting outside at the original Cafe du Monde (there are now 10) on the banks of the Mississippi River in New Orleans, where the beignets are served in threes in case eating just one of these deeply fried treats is not enough to clog every artery in your body. The approximately 60 million steps I’ve taken since then hopefully have negated that indulgence, but I decided not to risk further damage this time, even though there was a medical vehicle stationed not too far away.