Music

Richès Dayiti: Rediscovered Haitian Piano Treasures with Marianne Parker – Harold Washington Library – June 29, 2024

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This was Marianne Parker’s final performance on behalf of Crossing Borders Music, so I won’t have to renew my passport after all. It’s the third time I’ve seen her give a concert of beautiful Haitian compositions, in three different venues, not to mention, though I will, that I also have her CD of the same genre, Pages intimes,

What can I say. She was flawless, and entertaining, as always. So let’s move on to the venue. I go to a lot of concerts at (Jay) Pritzker Pavillon in Millennium Park, but this may have been my first time hearing music at (Cindy) Pritzker Hall at the Harold Washington Library. Wonderful place. Comfortable seats, lots of leg room, good sight lines, excellent acoustics, nicely temperature controlled (i.e. not over air conditioned) on a hot day, working drinking fountains, clean bathrooms and an escalator in lieu of stairs. I may move in.

Make Music Chicago – Washington Square Park – June 21, 2024

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Less than 24 hours after the summer solstice and I’m already depressed, as the day seems so much shorter than yesterday. But I press ahead and make my annual footslog to the Make Music Chicago celebration.

This year, in conjunction with The Newberry’s A Night at Mr. Kelly’s exhibit, Washington Square Park presented, I think, the jazz group, the Marshall Vente Trio (Vente is a keyboard player, but Jeremy Kahn was tickling the plastics on the digital piano, and I wasn’t paying attention to all the introductions, so I don’t know), with Greta Pope, and the blues group Mississippi Heat, whom I saw at the same event two years ago and was prepared for this time, remembering to bring my ear plugs, which was not a reflection on their quality, but rather their volume.

As entertaining as the bands were, and as beautiful as the 80-degree day was, I couldn’t help but imagine the chill in the air from the autumn breeze that will be here in a day less than three months. Nevertheless, I was heartened by the fact that, despite the complaining I hear from my suburban friends, there wasn’t a cicada to be seen or heard.

Grant Park Music Festival – Millennium Park – June 14, 2024

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I don’t bother writing about all my trips to the Grant Park Music Festival as it becomes boring to comment on one pleasurable evening after another and my grasp of the English language (even my native Mid-American version thereof) is such that I eventually run out of adjectives and/or the strength to defend my use of them.

But, I would be remiss if I didn’t relate my new experience this week, that is having something resembling a conversation with the festival’s chorus director, Christopher Bell, or, as he introduced himself to me prior to the June 14th concert, Chris, which, may I add, resulted in my new acquaintance taking my suggestion regarding the need for a jazzier pre-show 10-minute chime warning for those of us hanging out in the tent, usurping the chimes and mallet and playing a little ditty himself for the nearby patrons.

The interaction is noteworthy on two counts. First, that it happened at all, which can be solely attributed to Chris’s friendliness, his need to stand somewhere to eat his turkey pinwheel and there being such an available “where” right next to me.

Second, as he seemed like a nice guy, I restrained myself and didn’t mention that I hate choral performances (don’t tell him) and had no intention for staying past intermission to hear The Cloud Messenger (after thoroughly enjoying Christian Tetzlaff playing Elgar’s Violin Concerto in B Minor in the first half of the concert).

One final note. The mere title, The Cloud Messenger, is a turnoff for me. I’ve never seen a movie I liked with the word cloud in the title, including the critically-acclaimed, but not by me, Cloud Atlas.

I will admit, however, to liking Chicago’s Cloud Gate and the songs Get Off of My Cloud and Cloud Nine, though I’m still confused as to how one can look at clouds from both sides.

Raviv – Around Town – June 8, 2024

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I wanted to see the trio Raviv, for my my first time seeing electric cello players (two brothers, one in college and the other in high school, which hasn’t stood in the way of them getting bar gigs), at the Old Town Art Fair, but wasn’t sure I could get there in time, so I decided I’d see them later in the day instead at the Wells Street Art Fair, which is less crowded and closer.

But there was the expectation of rain in the afternoon (appropriately Raviv translates as rain or raindrops), so, despite running late, I rushed to see some of their set at the OTAF.

Of course, the weather then started clearing up, so I decided to double up and see what I had missed of them at the WSAF, where my hand stamp from the OTAF would do me no good whatsoever in terms of entry. I went home first and changed shoes so they wouldn’t recognize me and think I was some kind of stalker.

There was no cowbell, but there was loud drumming, which, though good, I would have turned the volume down on to better highlight the cellos. I’ve heard drums before.

The brothers played the cellos like electric guitars, if those had only four strings, and were planted on the ground and played upright, with bows, in a way that put Jimmy Page’s bowing with The Yardbirds to shame.

Jazz at Lincoln Center Orchestra with Wynton Marsalis – Orchestra Hall at Symphony Center – April 27, 2024

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In the week that Foxtrot’s convenience stores closed, the Chicago Symphony Orchestra opened the concert with John Adams’s The Chairman Dances (Foxtrot for Orchestra). As with everything that followed, it was a hit.

Then it was on to Shostakovich’s Suite for Variety Orchestra No. 1, arranged by Atovmyan in eight movements, which challenged the time-worn, or is it worn-out, tradition of saving applause until the end of the piece.

It wasn’t always so according to a nice little article I found with some history and differences of opinion on the topic.

In any event, a sizable portion of the audience could not restrain themselves, perhaps because they were attracted to the event by the appearance of Wynton Marsalis and the jazz orchestra. No such tradition at jazz concerts.

It even became interactive, and funny, when some in the audience started clapping during a moment of silence before the ending to one of the movements. The conductor, Giancarlo Guerrero, acknowledged the faux pas, and, when the movement really ended, turned to the audience with a nod and then back to the musicians for a look of appreciation for not missing a beat.

After intermission the jazz orchestra joined the CSO on stage, bringing the head count to about 573, or maybe not quite that many, but it was so crowded that some of the violinists had to sit at the kid’s table.

The guests played Duke Ellington’s Mooche, not to be confused with Cab Calloway’s Minnie the Moocher.

Then the groups, with their own distinct stylistic arrangements, separately took on Prokofiev’s Selections from Romeo and Juliet, alternating between the eight movements (each one followed by applause), before finishing together with Marsalis’s All American Pep from Swing Symphony. Something for everyone.

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, one on the double bass (sorry, I didn’t get her name) and new orchestra member  Josh Jones, who lit up the room playing  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.