St. John Cantius, Chicago

Posted on June 20, 2017 by admin

On Sunday I visited St. John Cantius, a Catholic parish church in what’s called the River West neighborhood, east of the Kennedy Expressway and west of the North Branch of the Chicago River. It’s easily accessible via the El, which is in fact a subway by the time you get near St. John Cantius.

The church was part of a wave of Polish-style Catholic churches built in Chicago more than 100 years ago, as the local Polish population expanded mightily. I’d seen a few of these churches before — St. Adalbert and St. Stanislaus Kostka, for instance — but not this one.

“Designed by Adolphus Druiding and completed in 1898, St. John Cantius Church took five years to build,” the church web site says. “The imposing 130 ft. tower is readily seen from the nearby Kennedy Expressway.”
“The unique baroque interior has remained intact for more than a century and is known for both its opulence and grand scale — reminiscent of the sumptuous art and architecture of 18th-century Krakow. In 2012, St. John’s completed an ambitious restoration, returning the lavish interior to its original splendor.”
I also wanted to visit so I could hear a Latin mass, or part of one anyway. According to the church bulletin, I arrived in time for the Extraordinary Form of the Mass (Tridentine High Mass in Latin). Actually I was a little early, so I sat for a while in a back pew and admired the interior, as a pleasant wind blew in through the main doors and on my back, adding additional texture to the experience.

By the time the mass began, the sizable church was fairly full, though not packed, with a diversity of ages. I haven’t seen that many women cover their heads in quite a while, including some elaborate lace coverings.

Soon the church was filled with music. I was sitting in the back and couldn’t see the choir or the other musicians up in the balcony, but I surely did hear them. I’ve had only spotty exposure to sacred music, but that didn’t keeping me from understanding how astonishingly good it was.

Much more impressive, it turned out, than the priests and their Latin, mainly because I wasn’t within hearing range of much of it. Mostly I heard a hum of words, a few of which I could pick out. Not that I would have understood all of it anyway. Some other time at some other mass I’ll sit closer. My impression is that Latin is a pleasing language to hear.

Regarding St. John Cantius’ music, the church says: “Our Sunday Masses regularly feature Gregorian chant, chanted by our schola cantorum and by the congregation. The parishioners of St. John Cantius are intent on preserving the choral traditions of the Roman Rite which gives Gregorian chant ‘pride of place.’

“Additionally, the people of St. John Cantius work to preserve the patrimony of liturgical music that comes from the Renaissance period and from the Viennese choral tradition. But our choirs also sing modern choral works that are consonant with the Roman tradition of sacred music.” More about the church’s music is on this short video.

Thursday Trifles

Posted on May 4, 2017 by admin

My wooden back scratcher — one of earliest inventions of mankind, for sure, and still one of the best — still has its label attached. I just noticed that. A product of Daiso Japan, it was acquired in Japan early this year and brought to me as o-miyagi.

The label is in Japanese and English. The English WARNING says:

Please understand that there is a risk of having mold and bugs since this is made of natural material.
Please do not use this for any other purpose than what it should be.
Please follow the garbage segregation rules imposed by local municipality.

Here’s a picture from Lou Mitchell’s last month. “A Millennial Couple at Breakfast.”

The flag between them is a Cubs W flag. They were all over when the Cubs were in the World Series, and you still see them sometimes. Ann asked me what it stood for. I said, Win. She said, couldn’t that be for any team anywhere? I assured her that that kind of reasoning has no place in sports fandom.

Here’s an article about Carvana. That’s a company that develops automobile vending machines. Or rather, mechanical towers that dispense cars previously acquired online. I’d never heard of it before. They’re in Dallas, San Antonio and Austin, among other places, so maybe I ought to take a look at one.

A few weeks ago, there was a thing going around Facebook: List 10 musical acts, nine of which you’ve seen, one you haven’t. Others are invited to guess which is the one you haven’t seen. Pointless but harmless. I refuse to do it on Facebook, but I will here. Alphabetically.

The Bobs
Chubby Checker
Irwin Hepplewhite & the Terrifying Papoose Jockeys
Gustav Leonhardt
Bob Marley
Natalie Merchant
Bill Monroe
Taj Mahal
They Might Be Giants
Francis Xavier & the Holy Roman Empire

Ravinia Circular ’17

Posted on May 2, 2017 by admin

We received the 2017 Ravinia Festival circular in the mail recently. Like last year, I decided to check to see whose tickets command the biggest bucks at the storied north suburban outdoor venue. Last year was something of a mystery, but never mind. This year, less so, at least in my opinion, but in any case at a price I’m unwilling to pay.

Who are the top draws? Performers commanding more than $100 for reserved pavilion seats include Willie Nelson, Aretha Franklin, Sammy Hager, Common, Diana Krall, Moody Blues, Sheryl Crow, Joshua Bell, Lang Lang, Tony Bennett, Darius Rucker, Santana, Alanis Morissette, John Mellencamp, Frankie Valli, and Stevie Nicks.

My reaction to the entertainers on the list is hm, interesting; or, they’re still around (alive)?; or who? All first-water performers, no doubt, but no one should charge that much, at least according to the Elvis Test, which I’m sure I’ve mentioned before.

Note the prices on these 1957 Elvis posters. Prices vary, but $3 is toward the upper end. Accounting for inflation over the last 60 years, $3 then = $26.31 in our time. Add another $5 or so because sound systems are so much better now, and another $5 because Ravinia is such a nice place, and needs to be maintained. I’ll even throw in a few more dollars just to round things up. So no ticket for a singer should cost more than $40, because no one is better than Elvis in his prime. A ridiculous idea, maybe, but I like it.

Who gets less than $40 at Ravinia? This year, the CSO for some of its concerts, and a scattering of classical performers. But I will say this for Ravinia: some of the lawn seats for its concerts, which is the place to be anyway unless it’s raining, are reasonable at $10 (though they’re jacked up during A-list concerts).

The top draw this year, according to the accountants, is Stevie Nicks at $200. She’s pushing 70 pretty hard these days, and I hope she’s as mellifluous as she was when I saw Fleetwood Mac on August 17, 1980, at the HemisFair Arena. No doubt her 2017 show would push all the right nostalgia buttons. But I can find ways to do that for a lot less.

Al Stewart at City Winery

Posted on March 27, 2017 by admin

Considering his longstanding love of wine, it seemed fitting that Al Stewart appeared at City Winery in Chicago last Thursday. I don’t share his oenophilia — I like the idea of wine more than wine itself — but I can appreciate an enthusiasm like that. Still, it didn’t matter to me exactly where he was playing. Some time ago, I decided to catch his shows whenever they were convenient to where I happened to be, and anywhere in the Chicago area is close enough.

City Winery is a relatively new place, taking its current form on the near West Side of Chicago only in 2012, and as such, it was a pioneering venue in that part of the city. Just before the music started, an announcer said, “City Winery’s not just a kitschy name. We actually make wine here. All those barrels in the back are filled with our wine, aging for your consumption.”

Carefully stowed barrels dominate the back of City Winery’s music room. The place also has a number of other rooms, including a large restaurant space forming the front of the building. All together, it’s a handsome interior space, characterized by brick walls and barrels and bottles, and the acoustics are good.

I’ve seen Stewart with a band, with sidemen, and by himself. This time, he had a band backing him, the young but talented Empty Pockets. They did a set before Stewart came out, including a fine version of “Fever.” The band’s relative youth caused Stewart to marvel at one point that he was being backed by musicians who weren’t born when the music they were playing came out, but who had the jam down pat anyway. That wouldn’t be quite so remarkable in a classical or jazz context, but I suppose it still is in popular music.

Though not a member of Empty Pockets, sax man (and flautist) Marc Macisso joined Stewart and the band for the concert too. He blew his sax like a man possessed, and did a fine job on the flute as well. On a number of Al Stewart songs, the sax is a defining sound, so it was good Macisso was on hand. He reminded me of the saxophonist who killed it with Stewart during his 1989 Park West concert, who might have been Phil Kenzie (who played on the record Stewart was promoting at the time), though I’m not sure.

The set list for the City Winery concert was different than any other of his that I’ve seen. After a handful of songs — “Sirens of Titan,” “Antarctica,” “Time Passages” — Stewart and the band played all of the songs from the album Year of the Cat in order.

The bonus was Stewart’s usual entertaining patter between the songs. “This brings me to Year of the Cat,” he said by way of introducing the songs. “It was a shock for me. I was an English folk singer playing in coffee bars, and all of the sudden people bought this thing, and I wasn’t sure why. I did begin on a very commercial note by writing a song about an English seafarer from 1591, Richard Grenville. This is a subject that most disco artists at the time were embracing.”

Stewart was being coy. If ever he did a polished commercial record, it was Year of the Cat (except maybe Last Days of the Century, which wasn’t as good). Alan Parsons produced Year, after all. The first song, “Lord Grenville,” does indeed mention Richard Grenville. He of “Out-gunned, out-fought, and out-numbered fifty-three to one.” I believe listening to the song in 1976 was the first time I’d ever heard of him.

About the next song — “On the Border,” a favorite of mine since I acquired the record 40 years ago — he said, “I thought we’d continue with mass popular appeal by doing a song about the Basque separatist movement, the crisis in Rhodesia and the fall of the British Empire, and amazingly this one actually made the top 40. I have no idea how that was possible. I can only assume the disk jockeys didn’t listen to the lyrics.”

For a long time I thought the song was about the Spanish Civil War, but I’ll defer to the songwriter. But it doesn’t really have to be about anything so specific.

Regarding “If It Doesn’t Come Naturally, Leave It” — my least favorite cut on the record — he said, “It has far too many words. If I’d known when I was 30 that I’d be singing it when I was 70, I’d have written half as many words.”

Stewart said that his favorite song on the album is “Flying Sorcery,” which was not top 40, but a fine tune all the same. “It concerns two lovers. I turned them into airplanes. They take off from the same airport but they get caught up in a fog bank and land at separate airports. Obviously that means they’re breaking up.”

I never quite took that from the song, but no matter. It has some wonderful lyrics, including, “You were taking off in Tiger Moths/Your wings against the brush-strokes of the day.” The brush-strokes of the day. What a way to describe the sky. It occurs to me that he’s done other songs with aeronautic images (not on Year), such as “The Immelman Turn” and “Fields of France.” (“When Lindy Comes to Town” talks about flight, too, but it’s a particular historic event.)

He mentioned some alternate lyrics to the song “Year of the Cat,” though not in as much detail as recorded on this Songfacts page, based on a 2015 performance. I think everyone was pretty glad that the final lyrics came out the way they did, including Stewart.

On the whole, Al Stewart was in fine fettle on Thursday. His voice is still clear and his guitar playing is impressively energetic for a man of 71. He also seems to enjoy himself thoroughly on stage, which must be why he still tours. Hope he’s got more years yet.

Iolanthe

Posted on March 13, 2017 by admin

Snow last night, first time it’s stuck in quite a while. But only a few inches, not like the East Coast.

This year the Gilbert & Sullivan Opera Co., a nonprofit based in Hyde Park that does performances one weekend of the year at the University of Chicago’s handsome Mandell Hall, produced Iolanthe. I have fond memories of the company’s Yeomen of the Guard, which Lilly and I saw two years ago, so we all went on Friday (except Lilly, whose spring break hasn’t started yet).

Like last time, we ate at Salonica’s first. The face on the telephone pole is still down the street, on the way to the theater.

The show was just as much fun as Yeomen. More, since I knew some of the songs better, including everyone’s favorite lord-marching-trumpets-braying number, which saw a mellifluous chorus of lords spill out from the stage and into the aisles and back, and the renowned patter song about insomnia and the weird dreams of shallow and disturbed sleep.

According to The Complete Annotated Gilbert and Sullivan by Ian C. Bradley, parts of which are online, “[Gilbert] had, in fact, experimented with the metre later used for the nightmare song in a poem entitled ‘Sixty-Three and Sixty-Four,’ which appeared in Fun in 1864 and which began:

Oh, you who complain that the drawing’s insane, or too much for your noodles have found it.
But listen a minute, I’ll tell you what’s in it — completely explain and expound it.

An earlier poem by Gilbert, ‘The Return from My Berth,’ which appeared in Punch in October 1864, gives a more lurid account of a Channel crossing:

The big Channel steamer is rolling,
Frenchmen around me are bilious and fat
And prone on the floor are behaving unheedingly,
It’s a ‘sick transit,’ but never mind that!

Matthan Ring Black was in fine form with the patter, and the rest of his Lord Chancellor part. Everyone else did very well, but I was especially taken with Claire DiVizio, who did the Fairy Queen, and David Govertsen, who not only amused everyone with Private Willis’ single song, but stood perfectly still in the lobby in his bright red guard uniform as the audience filed in. Perhaps that’s a G&S tradition I don’t know about, but in any case he was there.

Private Willis also got the biggest laugh of the evening:

That every boy and every gal
That’s born into the world alive
Is either a little Liberal
Or else a little Conservative!

Of course, there’s Victorian context to that, but a modern one as well.

Yuriko liked it, and Ann, who’s developing a taste for musical theater, said she enjoyed the show a lot. I never had such a taste as a teenager, though I did (mostly) enjoy the successive senior plays put on at my high school toward the end of each school year, all of which happened to be musicals: Bye Bye Birdie, The Mikado, Fiddler on the Roof, and West Side Story.

One more thing, which if I knew, I’d forgotten: Iolanthe apparently inspired Chief Justice William Rehnquist to add gold stripes to his robe in 1995. Guess he decided that a powdered wig as well would be a bit much.

Ravinia Circular ’16

Posted on April 27, 2016 by admin

The annual circular advertising this summer’s shows at Ravinia Festival arrived in the mail recently. Wonder how long printed circulars of this kind will be mailed at all, but for now they are.

It’s been a while since I’ve been to the venue, but I’ve enjoyed all of my visits, such as the long-ago August night in 1989 when a lunar eclipse was visible high over the concert. Or our attendance of a children’s concert in July 2002.

Ravinia, in Highland Park, Ill., on the North Shore, is the Midwest’s Wolf Trap. Or rather, since Ravinia’s a lot older than Wolf Trap, with outdoor music performances held there for more than 100 years — Wolf Trap is the Ravinia of the East Coast, open only since 1970.

In any case, Ravinia gets some A-list acts, and charges accordingly. Prices are for seats in the pavilion or for lawn seating, and they’re printed on the circular. Some of the concerts, especially lawn seating for some classical musicians, charge a reasonable $10, and I’d seriously consider paying $25 to hear the CSO play the entirety of The Planets while I relax on the lawn. (And ponder whether that should be “The Planets” or The Planets.)

On the other hand, I was curious to see who commands the highest pavilion seating ticket prices. Is it Bob Dylan? No. Paul Simon? No. Don Henley? Dolly Parton? Diana Ross? Nope. Those are all close, but Duran Duran tops the list at $160 a pavilion seat, and a steep $55 for a lawn ticket. Moreover, they’re playing two nights in a row, which is fairly rare at Ravinia.

Am I missing something? I remember Duran Duran as a tolerable early ’80s band that had a handful of hits. Must be their fan base is larger than I realize. Even so, here’s something I’m sure I’m missing: Duran Duran at Ravinia for $160 a pop.

Arlo Guthrie ’86

Posted on February 21, 2016 by admin

Here’s one thing about Arlo Guthrie, at least as he was 30 years ago: his distinctive, sometimes squeaky voice was exactly the same in person as on his recordings, as you might hear on “Alice’s Restaurant.” Other than that, I don’t remember a lot about the concert, not even whether he sang-spoke that particular song. He probably did. It’s also likely he did “City of New Orleans” and some of his father’s songs.

He also went on a short tirade about the metric system after telling a possibly true story about encountering a Canadian who didn’t understand the line in “The Garden Song” that goes, “Inch by inch, row by row, I’m going to make this garden grow.” Remarkably, there’s an ’80s clip of him in Austin singing that song, and sure enough, he tells the story about the Canadian (a border guard). In the show I saw, I remember him proclaiming, “There’s no poetry to the metric system!”

I’ll go along with that, but he needn’t have worried too much; the customary system still abides in the U.S. some 30 years later. Americans aren’t sophisticated about some things, but we are sophisticated enough to use and understand two systems of measurement at the same time.

Thursday Bits

Posted on December 17, 2015 by admin

A lot of rain on Sunday and then more on Monday, creating a week of puddles and mud as temps never quite made it down to freezing during the day. My kind of winter. No risk of slipping on ice, though I did nearly slip on a patch of mud in the yard the other day.

One more picture from Saturday: a street band at the corner of Washington and Wabash who call themselves Chicago Traffic Jam.

Jam is right. When we saw them, they were jamming, doing a bang-up job on a ’70s instrumental that I recognized, but couldn’t remember the name of. I pitched a dollar coin in their bucket.

I saw a trailer for Gods of Egypt on YouTube not long ago. From the looks of it, the title’s not quite right. CGI Egypt might be better. Could be one of those movies in which “tell a good story” is about fourth or fifth on the list on the director’s list of things to do, while “make it look badass” is first. Without more information, there’s little chance I’ll spend money to find out. Just another benefit of not being 15 anymore.

Then again, I don’t remember rushing off to any fool movie when I was 15. But the industry was different then.

I missed the obituary of Gene Patton earlier this year, but here it is. RIP, Gene Gene the Dancing Machine. Looks like you had a fun 15 minutes of fame.

Portland Ramble

Posted on September 1, 2015 by admin

I didn’t care how good Voodoo Doughnut in Portland was supposed to be, I wasn’t going to wait in this kind of line to buy any.

Downtown Portland on a summer Saturday teems with people, more than most mid-sized U.S. cities I’ve encountered. The obvious tourists were a minority. So were the obviously homeless, though they seemed more numerous than in most cities this size (and statistically, it’s a sad fact). Mostly, I think conventionally housed Portlanders were downtown because it’s an interesting place to be on the weekend. Good for Portland.

One reason is because of the food trucks, which cluster in various places. I had a falafel at one. Not the best falafel I’ve ever had, but good enough for a walkabout in a new city.

One place I was determined not to miss was Powell’s Books. Otherwise known as Powell’s City of Books, an apt nickname.
The place is enormous: a full city block with 68,000 square feet of floor space on four floors, divided thematically into color-coded rooms (the Blue Room, the Green Room, and so on). The store says it has more than a million new and used books, and I believe it. I went in without a plan, and I stuck to it, just wandering from room to room and floor to floor, looking at titles and opening books and enjoying myself. I was there about an hour, and could have spent longer. (This article captures the joy well; the writer might have even been there at the same time as me.)

I couldn’t leave without buying something — that would be wrong, since it’s important to support an independent bookstore against the Amazon tide, besides being good to have another book. So I bought Why Orwell Matters (2002) by Christopher Hitchens, which I read almost all of on the return plane ride. I also bought a clutch of postcards. As you’d expect, Powell’s had more than the usual Portland-themed tourist cards.

I’ve never seen more tattooed people in one place than in Portland, including Brooklyn (admittedly, it was October) or Camden Town in London (admittedly, it was 20+ years ago) or any warm-weather mass event I’ve been to recently, such as the Wisconsin State Fair. Summertime clothing was no doubt a factor, but I also think being in Portland was too. Mostly the ink was visible on arms and legs and backs, as you’d except, but not always.
Before going, I’d read about the Portland Saturday Market, which has been a local event since the early ’70s. By the time I was walking around in the city, I’d forgotten about it. I happened across it anyway. Besides a wealth of vendors, there were some excellent musicians.

Accompanied by a dancer.
At Pioneer Square, the fellow in the yellow was doing a bit of street preaching. Screaming, that is.
His theology sounded like pure Jack Chick, though he might not agree with him in all the particulars. The fellow in black facing him (not the one with the Turn or Burn in Hell shirt) was not amused by the man’s preaching, and was screaming back. Before long, the cops showed up.
I didn’t hear the discussion, but I suspect all parties concerned were being told not to take things to the next level, i.e., a fistfight. I passed by the same intersection about 30 minutes later, and the preacher was still there (with a different set of detractors), so I guess no physical violence broke out. Seemed like a near thing, though.

Pacific Northwest ’15

Posted on August 30, 2015 by admin

I left for the Pacific Northwest on August 21 and returned home late yesterday. Imagine an axis that connects Portland, Seattle, Bellingham and Vancouver, which are all linked by I-5 (British Columbia 99 north of the border). That axis was the focus of the trip. I went to all of those cities and some points in between, some for a matter of hours, others for a few days. I spent time away from those cities as well, in hilly territory lorded over by towering pines and enchantingly quiet at night.

I drove a lot but also managed to spend a solid chunk of time walking and riding buses and light rail. The visit involved attending a conference, touring an exceptional building and seeing other fine ones, experiencing two large public markets, wandering through one of the largest book stores anywhere and a few other excellent ones, and seeing two museums and a Chinese garden very much like some of the wonderful ones in Suzhou. I ate food both awful and extraordinary, including things I’d never heard of before.

Going to another part of the country means doing new things, too. Or it should. Not necessarily life-changing experiences, but the sort of petite novelties that add up over time to make the fabric of one’s life better. Even before I got there, this was the first time I’d ever booked a rental car through Costco or a room through Airbnb. I attribute a less expensive trip, and a better one, to both. I visited a new city (Portland) in a new state (Oregon) and visited new parts of places I’d been (Vancouver in British Columbia, the Fremont neighborhood in Seattle). I witnessed a major forest fire from the air and smelled the result on the ground as the wind wafted west. Unexpectedly, according to the residents. I stood inside a building designed by Frank Gehry, rather than looking at its curious outside.

I saw a number of odd and interesting things, such as the street musician who’d modified a bagpipe and played it on stilts (Vancouver, just outside the Pacific Central Station). What to call it? Steampunk bagpiping?
Or the Gum Wall (Seattle, next to the Pike Place Market). Each of the those bits of color is ABC gum, often used to attach cards and small posters to an alley wall. Why? As near as I can tell, just because.

Or the echo of a celebrity event I’d missed when it happened, the Bill Murray Party Crashing Tour of 2012 (this sign was in Portland).

I can think of a lot worse people to show up at one’s party uninvited; maybe he’s still doing it occasionally.

Most importantly, I reconnected with two dear old friends, one of whom I hadn’t seen in 18 years, another I hadn’t seen in 30 years, since my last visit to Seattle. Our friendships have been maintained over the years mostly through paper correspondence, with a more recent electronic component. But there’s no substitute for being there.

Been There, Seen That

By Dees Stribling

Tag Archives: live music