TAMMY MCCANN - THE NEARNESS OF YOU

If you are looking for sweet conversation, that brings a sensation, you need look no further than our time with the extraordinary Tammy McCann. No surprise that McCann adores the Hoagy Carmichael-Ned Washington standard, Nearness of You. It happens to be her husband’s favorite.

Things might have been very different for McCann if she had pursued a classical music career. Following her heart, and the inspiration of jazz legends like Ramsey Lewis, Von Freeman and the immortal Ray Charles, all of whom she has performed with, McCann has established herself as one of our most gifted and talented jazz vocalists.

Internationally recognized and hailed by critics as a rich interpreter with extraordinary vocal technique, the musical journey of McCann’s concerts and stage appearances in Chicago, New York and beyond have put her in a class by herself.

Tammy McCann joined the conversation on February 7th fresh from a concert in Norway to talk about her upcoming appearances at Winter’s Jazz Club, the City Winery debut of Jeannie Tanner’s Words & Music, the 8th Annual Chi-Town Jazz Festival, and the most important part of her life, raising a young family in Chicago.

A mom’s perspective … “One of the things I always wanted to make sure was my children knew that they were the priority in my life … I had the opportunity to travel all over the world before I became a mom and now I see my career as a way to show my children the world and to see the world through their eyes.”

On Ann Hampton Callaway …“The only thing bigger than Anne’s talent is her heart. She is the most giving, warm, supportive individual that I have ever met in this business.”

Storytelling through song … “I think it is the pairing of the words and the music that creates a story. The music sets an emotional tone that then opens the door for the lyrics to take your hand and take you some place ... take you to a memory … take you to a dream … sometimes take you to a sadness … I feel strongly that we as vocalists are messengers, and I think it is important that you really think about what message you are going to share. It is not an arbitrary thing when people welcome you into their intimacy … When people say music is the soundtrack of their lives, that is a real thing.” 

Of all the love songs out there … “My favorite is my husband’s favorite … ‘Nearness of You.’ About when everything is washed away … There are no roses, no wine, no candlelight … The only thing that makes everything right is to have you by my side.”

Tammy McCann's Website
Buy the CD HERE
Winter's Jazz Club

ANGELA INGERSOLL - BEYOND THE RAINBOW

If you have been fortunate to see Angela Ingersoll recently on stage or in concert, you already know what the big buzz is about. She is smart, sassy, sexy, and above all, a natural born talent.

Ingersoll’s critically acclaimed performance as Judy Garland in the recent Porchlight Music Theatre production of End of the Rainbow channeled every ounce of her powerhouse talent to elevate our imagination and richly stir our compassion for the fragile and falling star. It was all there – electrifying stage performances, manic vitality, childlike enthusiasm and reckless abandon – all seeming to unfold effortlessly in the moment in Ingersoll’s unforgettable performance.

Her theatre resume is impressive spanning dozens of stage appearances with Marriott Theatre, Indiana Repertory Theatre, Chicago Shakespeare Theater, Drury Lane, Madison Rep, Playhouse on the Square and others. She has appeared with Second City Hollywood and on television in Chicago PD. No stranger to the Garland songbook, Ingersoll continues to perform concert versions of her one-woman Judy Garland show with the Artists Lounge Live concert series produced by her actor/singer husband, Michael Ingersoll.

Angela joined the conversation on February 1st to discuss the run with Judy, what’s happening next for her live concert career and how she met and fell for the special ‘Jersey Boy’ in her life.

On which Judy Garland song brings her most joy … “It’s an impossible question … Of course, ‘Rainbow’. It’s arguably one of the best pop songs ever written.  It so perfectly captures the human experience both musically and lyrically ….  ‘Man Who Got Away’ is the most comfortable … feels like home … it sits right in my body and I have worn the grooves of that record on my throat the longest. I love singing ‘Stormy Weather’ … it really is very important to me … my favorite moment of Carnegie hall … one I have recently taken on is ‘Rock-a-Bye Your Baby’ . I stayed away from it for a few years because I was intimidated … it was maybe her favorite … it is so sexy!”

On her relationship with Judy Garland … “I like being old Judy, I’m not a young Judy. I’m an old Judy. … I never really put her on the shelf or put her away. She has been a part of my life my entire life and continues to be. It is just more public now.”

On sharing the human experience in Artists Lounge Live shows …“We find an artist who is so influenced by an icon that they seem to be the torchbearer for that person’s legacy going forward and there is a real intimacy in the storytelling. It is about the storytelling … the very human aspects of the person’s life.”

Connecting with Judy beyond the music … “One of the most important parallels is she had a very strained relationship with her mother and I have had a complicated relationship emotionally with my mother … So many of her emotional scars were handed down to me … not by her own fault … Inheriting a lot of her pain has informed me a lot … It is my window into the kind of pain with which Judy lived.”

What’s ahead … “Judy’s centennial is coming up in 2022. In 2021, we will have the 60th anniversary of Carnegie Hall. I am working toward having relationships with orchestras … so I can be the foremost person doing this in the world, quite honestly. I know that is a lofty thing to say but ‘we gotta dream somewhere’ and I am trying not to censor myself.”

PODCAST
WEBSITE

WATCH PERFORMANCES OF ANGELA INGERSOLL
Over The Rainbow
Come Rain Or Come Shine
The Man That Got Away

Angela Ingersoll Performance Photo Credit: Amy Boyle Photography
Materials Courtesy: Artists Lounge Live

ROBERT SIMS - PASSING THE TORCH

ROBERT SIMS, the classically trained lyric baritone who has performed for decades in prestigious venues around the world, evokes the passion and presence of Paul Robeson, Roland Hayes and others before him with every song he sings. His music, which comes from a rich and soulful place that most of us can only imagine, and the spiritual concerts that are his trademark, are keeping the archive of African American spirituals alive for future generations. 

Sims has performed at Carnegie Hall and Lincoln Center, in concert with the Mormon Tabernacle Choir and the Gilbrator Philarmonic, among many others, and has had a long and distinguished operatic career.  He toured nationally in the ensemble Three Generations, a celebration of American spirituals and folk songs with George Shirley, the late William Warfield and Benjamin Matthews.

High in demand as a performer and vocal coach, Sims has recorded numerous CD’s and collaborated on the recent biography Roland Hayes: The Legacy of an American Tenor with Christopher A. Brooks.

Robert Sims joined the conversation on January 27th following a concert appearance in Detroit to talk about how his career was influenced by Robeson and Hayes and the challenges they faced breaking down barriers. 

Robert on the legacy of “Ol’ Man River” …

“It was considered Paul Robeson’s song and Bill Warfield’s song … and I’ll tell you how I started singing it. We were giving a concert in Philadelphia. On the morning of the concert Warfield had a heart attack … Three Generations went on as a duo (with Matthews) … and I sang ‘Ol’ Man River’ from William Warfield’s score from the movie. Then I started singing ‘Ol’ Man River.’  It means something different every time … [Bill] said he remembered singing it after Martin Luther King Jr. was assassinated … and the meaning then was like the river, we are going to keep flowing and keep fighting for civil rights ... Paul Robeson turned the song into a song of protest … Sometimes I think of it the way Paul Robeson thought of it … sometimes it is a song about the river flowing … how life continues to flow.”

On celebrating the history of spirituals …

“We do not tend to celebrate it in that … Out of this ugly experience came a music that has influenced the world. If I was in Japan right now, I would hear R&B, rock ‘n’ roll, jazz … all of that came from our contributions to music. There are some African Americans who are ashamed ... ‘We have new music!’ ... there is nothing new … they didn’t invent this.”

On the power of music …  
 
“This is a very, very interesting time, but music heals. It stirs something up in the soul … And I think it is something that is needed now more so than ever … I am sure there will be some recycled folk songs, freedom songs, and civil rights songs that will come out of this time. Probably some songs about love and unity ... It is going to be very interesting to look back at this time in America and see what came out of this experience.”

On inspiring future generations … 

“The voice is something so interesting because it is an instrument that is not outside of ourselves … One has to feel good about themselves … one has to feel that they can get up in front of people and present and that they are worth it … one has to feel that they have something to say … I am finding more than anything there is healing I have to do … to tell my students that they can do this. Then, when I get past that, I can say, ‘Now do it with joy.’”

CONVERSATION PODCAST
ROBERT SIMS  WEBSITE 
VIDEO PERFORMANCE  Ol' Man River

ROBERT SIMS FEATURE PERFORMANCES (AUDIO)
Lit'l Boy
Wait 'Til I Put On My Crown

CONVERSATIONS ARCHIVE

WOMEN IN SONG

This week we feature CONVERSATIONS with four women who are bringing people together on stage and in the studio - Jeannie Tanner, Cynthia Clarey, Colleen Raye and Sophie Grimm. Lots of great entertainment to look forward to in the weeks ahead in Chicago.

JEANNIE TANNER “WORDS AND MUSIC” - ALBUM RELEASE SHOW - FEBRUARY 27th

Award-winning vocalist, composer and trumpeter Jeannie Tanner performs and records original music with her band the Jeannie Tanner Quartet, plays at Chicago’s top jazz clubs and has been deemed a “triple-threat” who “probably couldn’t play or write an unmusical phrase if she wanted to,” by Chicago Tribune’s longtime columnist and jazz critic Howard Reich.

Jeannie debuts her latest album next month; a songbook collection of American style music featuring 12 of Chicago’s finest vocalists. “Words and Music,” showcases Jeannie’s breadth of talents as a songwriter and musician and the unique styles of each of the collaborating vocalists. Jeannie joined the CONVERSATION to talk about her latest project and what to expect from the release party.

This is your ninth album. What makes this one stand out from all the others?

This new album stands out from my other records because it focuses on my songwriting, not my singing. Each song is one of my original compositions and the two-disc album features 12 of Chicago’s finest vocalists singing my words and music: Alyssa Allgood, Rose Colella, Elaine Dame, Kimberly Gordon, Paul Marinaro, Tammy McCann, Jeff Meegan, Typhanie Monique, Andy Pratt, Abigail Riccards, Michele Thomas, Amy Yassinger. “Words and Music” is the first album I’ve recorded that I’m not singing on any of the tracks, and there are nineteen songs on two discs. As a composer, it is a dream come true.

How would you classify the style of music on the album?

This new album is a collection of my original songs and the music is an eclectic mix. It ranges from the Great American Songbook to New Orleans-style jazz; bossa nova and retro 1960s Rat Pack Swing to percussive Afro Cuban rhythms, gospel and soulful ballads, to shades of adult contemporary pop.

 Was it difficult to coordinate all of the various artists?

Actually, no. Everyone was super excited to be a part of this project, and really made themselves available for phone calls, prep meetings, recording sessions and now, performing live, in concert, at the upcoming album release. The whole process has been, and continues to be, totally collaborative and really reflective of the supportive nature of Chicago musicians.

 Do you have an “Ah Ha” moment you can share?

I have several “Ah Ha moments”… The first was when Abigail Riccards recorded a rubato version of the song I wrote for her, “Endless Joy” (the tune is about the happiness of having children). It was unrehearsed, and she and Dan Murphy, who played piano on the album, just nailed it in one take. We were all holding our breath as they were recording… and at the end, I was speechless… we all were… because it was so beautiful. So when they were finished, Abby looks at us and says, “Was that okay?” (Like, do we need to do it again?) And we all said, “Uh, no - that was perfect!”

The second was with Typhanie Monique’s tune, “Be Strong.” I wrote it for her, specifically for this album. She mentioned that she had been listening to a lot of early Etta James, and Little Jimmy Scott. So I wrote the tune keeping those artists in mind, and in passing said to Dan Murphy (Music Director, arranger and co-producer on the album - as well as playing piano), “Can you write a string arrangement sort of reminiscent of ‘At Last?’” Just this past week, I listened to the two songs for the first time, back to back and was astounded that we had captured the whole vibe of “At Last.” And, with Typhanie’s amazing vocal performance on “Be Strong,” it really was an “Ah ha” moment of, “Wow, we did it!”

How did the collaboration with these established artists influence the final performances?

By allowing every artist to have the freedom to interpret my music in their own unique style, the heart and soul of every performer can be felt on this album. The songs reflect the true spirit of this project - creative, collaborative energy with a lot of love.

What can the audience expect on February 27th?

The audience can expect to have a great time! February 27th is going to be an exciting evening of entertainment, featuring 12 of Chicago’s finest vocalists, on stage - for one night only. They will be singing my original music, accompanied by a full band with a horn section and a string quartet. It will be a multi-media concert experience, to be enjoyed at one of Chicago’s finest music venues, the City Winery.

JEANNIE TANNER “WORDS AND MUSIC” - ALBUM RELEASE SHOW
Monday, February 27th
City Winery Chicago
1200 W Randolph St.
Chicago, IL 60607
Doors Open: 6:30 pm
Show: 7:30 pm

More Information: HERE
Tickets: HERE 
Jeannie Tanner's Website: HERE 

COLLEEN RAYE and SOPHIE GRIMM – THE BEST IS YET TO COME - JANUARY 27th

Seasoned entertainers, vocalists and mother daughter duo Colleen Raye and Sophie Grimm take to the stage at Skokie Theatre to salute the First Ladies of Song in the upcoming show, The Best is Yet to Come. Raye and Grimm will be exploring the trail blazing female songwriters from Tin Pan Alley and The Great American Songbook including classics from Ann Ronell (Willow Weep For Me), Billie Holiday (God Bless The Child) and Betty Comden/Green (Just In Time, The Party’s Over, Never Never Land). We caught up with Sophie to hear more about the show and her musical influences.

Sophie joined the CONVERSATION to give us a preview of their upcoming show. 

Music has obviously played a big role in both of your lives. What influence has your mom had on your career?

My mother inspires me every day with her love of life and incredible work ethic. She has a producer's mind with the creative ability to write entire shows that really connect with an audience through laughter and musical magic. You know that magic that happens when you as an audience member feels completely in the present and satisfied with it just by smiling and tapping a toe to someone singing or playing a song FOR YOU? She helps me every day with her presence in my life, whether physical or in her vibrant spirit. As for my career, I love to say that my family is in business with one another (show business) because I find it special and fulfilling, knowing my sister and brothers are living the dream in every day reality (a creative and striving one) - makes me feel they are achieving creativity (and professionally, on top of that!) and that makes me feel they are happy, making me happy.

Has your musical focus always been on Tin Pan Alley and the Great American Songbook?

I have loved the American Songbook my entire life because the art of jazz music meeting story and sung lyrics is something I love to listen to and create myself. Growing up in a musical family, however, has led me to love all music and live entertainment for that matter. The more we can get more people in a room to have a great time with music or live entertainment, the better in my eye.

Who’s the comedian?

I get so much of my humor from my family, but although I believe my mother would definitely say her strength is in the torch song, she can swap jokes with the best of them. If you're talking about who's the clown, now, I can definitely take that title.

COLLEEN RAYE and SOPHIE GRIMM – THE BEST IS YET TO COME

Friday, January 27th
Skokie Theatre
7924 Lincoln Ave
Skokie, IL 60077
8 pm

More information: HERE
Tickets: HERE
Sophie Grimm's Website: HERE
Colleen Raye's Website: HERE

CYNTHIA CLAREY IN PORCHLIGHT MUSIC THEATRE’S
THE SCOTTSBORO BOYS OPEN FEBRUARY 3rd

Acclaimed opera singer Cynthia Clarey makes her Chicago theater debut at Porchlight Music Theatre in The Scottsboro Boys. Although not singing in this production, her character plays a pivotal role in the true-life story of nine African American teenagers accused and put on trial in Memphis for a crime they did not commit. Cynthia has traveled the world as an opera singer working with such notables as Peter Brook, Trevor Nunn and Sir Simon Rattle while also performing as a Chicago Cabaret Professional at many notable venues including Davenport’s Piano Bar and Monday Night Live at Petterino’s with Denise McGowan Tracy and Beckie Menzie. 

Tell us about your character and how she fits into the story?

I play The Lady in The Scottsboro Boys. There is no real description of who she is, but she plays a significant role in the civil rights message of the piece.

How does preparing for The Scottsboro Boys differ from your other professional pursuits?

Over the years, I have seen several Porchlight shows and have been very impressed by the professionalism of the company. Since joining the cast for Scottsboro Boys, I realize how much goes into their productions and how wonderfully they schedule and handle the cast, which is a very talented group of actors and singers. The rehearsal period is very compressed for a challenging show like this, so, we are putting a lot into a short amount of time.

How is it all coming together?

I am very excited to be part of this production, particularly right now with what is going on. I grew up in the South, and this piece is a revelation for me. I am really looking forward to the run.

PORCHLIGHT MUSIC THEATRE
PRESENTS
THE SCOTTSBORO BOYS
February 3rd – March 12th, 2017
Stage 773
1225 W. Belmont
Chicago, IL 60657

More Information: HERE  
Tickets: HERE 

Check out The Scottsboro Boys First Rehearsal Video: HERE

WILD BEN HOLLIS

As it turns out, BEN HOLLIS has been having an on-going conversation with all of us for almost four decades.

He is the co-producer and original host of WTTW's WILD CHICAGO, and many other Emmy Award-winning programs, that feature his engaging interview style and zany humor, all mixed with unbridled excitement. A consummate storyteller, his focus is squarely on people and places, which is ultimately the point of his shows: to appreciate and learn a little bit more about ourselves and everything around us.

His near-legendary persona – that of the ever-vigilant explorer in pith helmet and khaki shorts with run and gun reporter microphone in hand – places him in a class all by himself.  Hollis is smart, well read, spiritual, worldly and yes, hysterically funny, both on and off camera, about whatever topic he’s talking about … including his real-life experiences, which are front and center in his next project.

We caught up with Ben on January 9th as he was making final preparations for his upcoming solo show “How the Beatles Nearly Ruined My Life and How David Bowie Saved It” debuting later this month at the Skokie Theatre. The new live stage venture is a long time in coming, unexpectedly interrupted a year ago with, well … brain surgery!

As you will hear on this episode of CONVERSATIONS, Ben’s life took a dramatic turn last January when he was diagnosed with arteriovenous malformation (AVM), a rare and life-threatening condition if left untreated. That medical journey, and the road to the new show, are among the many topics covered in our conversation.

As his ever positive and optimistic attitude will attest, we have only begun to scratch the surface of the many talents that Ben Hollis brings to the stage... and we are truly blessed that he is still here to tell the tale.

Ben Hollis on brain surgery ...

“I was the happiest brain surgery candidate I think anybody’s ever seen. I’m sure that those doctors and nurses and orderlies thought I was out of my gourd. Folks, imagine watching me with my pith helmet on the gurney being wheeled in there going ‘Woo hoo! This is the wildest journey I’d been on!’”

The gift of laughter …

“I’ve been given gifts. We’ve all been given gifts and talents … let me bring them fully to bear and trust that it’s the right thing to do … and that somehow it’s going to help other people too. Even if helping other people is only making you laugh and smile for an hour and a half, that’s not nothing.”   

Jack Brickhouse’s influence on his career …

“Jack Brickhouse, Cubs announcer for many years on WGN, always used to say early in the broadcast ‘Put down your worries. Put your feet up and just be with us for a couple hours. You don’t have to worry about anything else’ ... As a kid, you hear that and you go ‘what a bunch of malarkey’ … [But] Jack was so right … that’s exactly what we get from a movie or watching a ball game. The older we get maybe the more we pile up in our brains. If I can lighten anyone’s load, I am there to serve.”

What to expect in his upcoming show at the Skokie Theatre …

“A lot of what people are going to take away is joy in remembering their own life story. It’s going to appeal to a lot of Boomers in particular … it’s really the story about how music saved my life ...  The Beatles nearly ruined it. Bowie saved it by giving me another chance.”

HOW THE BEATLES NEARLY RUINED MY LIFE AND HOW DAVID BOWIE SAVED IT

TWO SHOWS:
January 21   8 pm    January 22  2 pm

Skokie Theatre
7924 Lincoln Ave
Skokie, IL 60077
Tickets: $22 Online or Call: 847-677-7761

Ben Hollis Links
WEBSITE: Video Production
BUY: Rent-a-Friend  

A BOY NAMED MAX - A NIGHT AT THE STEINWAY PIANO GALLERY

Max Lai - Steinway Piano Gallery

After discovering the Steinway Piano Gallery in Hinsdale and speaking with Diane Duncan and Andree Marie Hancock, it was a pleasure to attend the recent holiday recital of Steinway Artist Jue He’s students on December 8th. It was a two-concert evening series with a couple dozen performers ranging in age from 4 to 15. The place was bursting with pride and admiration with a healthy amount of encouragement and goodwill to go around.

And, it is important to mention that these students get to perform their selections on an exquisite 9 foot Steinway concert grand piano. It all takes place in the bright, well-appointed 50-seat performance area that the Gallery provides to piano instructors free of charge. There is no doubt that it is the thrill of a lifetime for these budding musical artists to perform here. It just may be the catalyst that Steinway was hoping for all along to keep these students on a path to bigger and better things. As the old saying goes: “Do you know how to get to Carnegie Hall?” *

Something I did not count on was the amazing talent of every young person I heard at the recital. They are all immortalized on my personal digital recorder and Jue has a You-Tube channel dedicated to her student performances that you can visit to hear more.  

Our conversation with Diane Duncan includes an overview of what Steinway is doing to support young artists and families. We also talk about teaching techniques with Jue. The highlight, however, is the performance and discussion with a 12 year-old boy named Max Lai who has given me reason to believe that the next generation of performing artists is a very talented lot indeed.

* Practice.

Performances on this episode of Conversations with Ed Tracy include:

Snowflake Rag by Nancy Faber performed by Abigail Wong

Rhapsody in G Sharp Minor by Johannes Brahms performed by Max Lai

Special Thanks to Diane Duncan and Andree Marie Hancock.

BILL LARKIN - KNOWING YOUR AUDIENCE

Somewhere between the on-stage chaos of his physical comedic persona and the satire laced lyrics and music of his one-man show, there is a wonderfully funny and madcap place that Bill Larkin calls home.

An accomplished and award-winning stage actor, comedian, club performer and writer, Larkin now has his sights firmly fixed on the release this week of his new comic album, Bill Larkin-Knowing Your Audience, recorded live at the Green Mill in Chicago. If you were lucky enough to have been there, you already know that Larkin’s humor is fresh, edgy, perceptive and highly charged. It could be rated “M” for “Mature” or “Manic” … take your pick.

Larkin’s stage credits in Chicago in recent years are extraordinary. He received his first Joseph Jefferson Award as Principal Actor in Porchlight’s A Class Act in 2013, and nominated again for A Funny Thing That Happened on the Way to the Forum in 2015.  This year, he appeared as Max Bialystock in Mercury Theatre’s The Producers.

All this followed a multi-year career of theatre including Disney’s Aladdin at Chicago Shakespeare Theater, the 25th Annual Putnam County Spelling Bee at Broadway in Chicago and shows at Second City, Davenport’s, the Green Mill and on television in Chicago PD and Comedy Central. Along the way, he has performed for 16 years at Howl at the Moon.

Bill Larkin joined the conversation on December 5th, 2016 to talk about how knowing your audience could help you to find out more about yourself.

SUBSCRIBE AND HEAR THIS PROGRAM ON: ITUNES & STITCHER
BUY|DOWNLOAD BILL LARKIN'S KNOWING YOUR AUDIENCE: HERE

On his award-winning role as Ed Kleban in Porchlight’s A Class Act …

“As I’m rehearsing and reading through the script and getting to know who Ed Kleban was … older, balding gentleman who was a songwriter, very neurotic, had his own problems ... I thought ‘This is perfect for me. Where do I sign?!’ …  It was very odd how this show came to be at the time it came to be. I was going through my own issues at the time and the show was like therapy ... I felt like I was throwing myself into this performance trying to be true to Ed Kleban but throwing a lot of myself into it … It’s amazing how much I saw myself in him … amazing cast … amazing performance and Porchlight, you know, they do the best.”

The Pink Hippo Effect ...         

“I tend to find roles, like the genie in Aladdin, that are very exhausting. I kind of call it the ‘pink hippo effect’ because I used to work at Disney world, and I was in a parade.  It was Fantasia themed, and they needed someone to be the pink hippo … huge costume, huge dress …  It’s a huge undertaking and no one else wanted to do it because they thought it would be tiring and, of course, me, I was like ‘I’ll do it!’ because I saw how silly the role could be. You just go out on the street and lift your dress and everyone laughs. I’m like ‘yay!’ … and it did take a toll … I still do that to this day. I take roles that are fun undertakings, but you quickly learn that you have to pace yourself … Forum, The Producers and Aladdin were like that. I was entering my 40s at that time, and you find out if you do not pace yourself, it will take a toll later.”

Early influence …

“I owned a lot of Tom Lehrer albums growing up. He has been my biggest influence.  As a kid I would listen to his songs,  and I wouldn’t understand half of what he was saying … all I knew was that the audience was laughing … he was sitting at a piano, saying things that made them laugh… and I thought ‘that’s what I want to do.’”

On Matt Crowle …

“I was in awe of him in Forum but Producers …  I would watch on the sidelines as he would do “I Want to Be a Producer” …  and I would listen to the audience’s reaction, I mean he may well be, I think he is, the most joyous performer I have ever seen … I would watch him in Bye Bye Birdie at Drury Lane and just grin from ear to ear watching him … watching his facial expressions, watching his dance moves, watching the joy that he has. It is infectious.”

What to expect from his new album Bill Larkin-Knowing Your Audience …

“This album is different from the first one … which was on the clean side … as I got older I thought ‘I’m a bit angrier now’ … it’s very therapeutic to write about something I’m  not happy about and some of my stuff is Facebook rants set to music … a lot of these songs … there is definitely language … it definitely reflects the time … I’m very proud of the album because while there are songs about silly things here and there … there is a lot of myself in it … maybe too much of myself, but that’s what I like too. I’m breaking down walls … I’m very happy about it.”

On his song titled “Making a Difference” …

“You write what you know about ... one thing I know about is being online for too long … we write out how we feel online … you are venting … after a while you feel like ‘I’m really helping others in doing this. My taking a stand online is all I really need to do’ and of course that is not the case. It is called “Making a Difference” because we feel as if we are, but the actual ‘making a difference’ is leaving the house, going out there, volunteering, holding up a sign that says how you feel, contributing in a meaningful way. A post is a post, and it disappears in a few minutes.  You get a few likes and you are like ‘oh I have done my part.’ No, no you have not. To actually make a difference requires a bit more.”

VISIT: BILLLARKIN.COM     BUY|DOWNLOAD CD: HERE

DAVID H. BELL - LOOKING BACK. LAUNCHING FORWARD

If you are over a certain age, you already know about the 1940 film KNUTE ROCKNE – All American with Pat O’Brien as the legendary Notre Dame football coach who led his team to five undefeated seasons and the 1925 Rose Bowl championship. And, if you are under a certain age, you may be surprised that the film featured a young and future president named Ronald Reagan in the role of George Gipp who died at the age of 25.

Coming up, musical theatre audiences young and old in Chicago and South Bend can be part of the development process of ROCKNE a new musical at the Josephine Louis Theater of Northwestern University and at the Decio Theater at Notre Dame. The early November developmental workshop at Northwestern University is part of the American Music Theatre Project (AMTP) and the organization’s ongoing commitment to connect professionals and students in the development of new works for the musical stage. The workshop culminates in two free public reading performances on November 19th in Evanston and November 20th in South Bend.

David H. Bell, AMTP’s artistic director who co-wrote lyrics with Michael Mahler for this new adaptation and an earlier Chicago stage version, is directing this turn. Bell is a multiple Joseph Jefferson Award nominee -- 44 at this writing -- and has received the award 11 times.  He has served as artistic director at Ford’s Theater in Washington and has worked on Broadway, Off-Broadway, at Carnegie Hall, the National Theatre and many, many others.

David Bell joined the conversation on October 21st for an in-depth discussion about the challenges of developing new works for Broadway, the impact and accessibility of workshop programs for emerging artists and what’s ahead for the American Music Theatre Project. PODCAST

Chicago’s impact in musical theater…“Chicago is the national laboratory for new work. Chicago, in particular, has a real dedication to find grass root pieces and feed it. It is adventurous, nurturing and affordable, which is a good trio.”

The impact of Hamilton and big Broadway hits… “Unlike in the past when you would say ‘a high tide lifts all boats,’ now the money really goes to Hamilton … It’s the first time I’ve seen this experience where Hamilton really is dominating the market and actually in some ways making people reluctant to spend their discretionary dollars elsewhere … [it's] the weird phenomenon now of 'you’re only going to see one show a year' because that’s what you can afford to do rather than become a theater cohort and see whatever is available.”

On the increase in opportunities for young artists... “Starting in 1968, Broadway really didn’t know what it was so it was in the dark ages for a good 20 to 30 years. That’s when I was getting started and therefore ... there was not a lot of opportunity… Broadway was diminishing rather than growing, certainly not thriving, so the whole landscape was very, very different … The idea of direct apprenticeships wasn’t quite as prevalent as it is now … Right now you’re invited to have resident directors and assistant directors. There’s a whole hierarchical structure of how a young director can support a Broadway show… We have found new avenues to get things to Broadway. There’s much greater access to Broadway … We’re actually coming in a very healthy spate of opportunities that have been created for new artists wanting to interface with new musical work.”
 
Advice for aspiring musical theater students… “Ultimately we [AMTP] may say no, and it is a real gift not to take no from anyone. So if they don’t make it the first time, try again and try to be involved in a number of ways … Those who don’t allow themselves to hear no are the ones who make it in this business.”

PODCAST

FOR MORE INFORMATION
Northwestern University's American Music Theatre Project

PAUL MARINARO - BIRDLAND BOUND

If you have been around the Chicago music scene for the last decade, you surely have had the opportunity to enjoy the classic jazz tunes and standards from the Great American Songbook performed by Paul Marinaro. Perhaps you have seen him at Katerina’s back in the day, which in 2016 terms is only a few years ago, or at The Green Mill Jazz Club, Jazz Showcase or the magnificent Auditorium Theater. Any night with Paul Marinaro in the room is going to be a very memorable experience.
 
And coming up, a New York audience will have an opportunity to enjoy his dynamic musical talents at the debut of the Paul Marinaro Quartet at Birdland on Sunday, October 30th. We caught up with Paul on October 11th to talk about his musical career, the Birdland show, what’s coming up next, and a dog named Titus.

When asked to reconsider his tribute album Without a Song showcasing his father’s vocals from an old rehearsal tape …
“It was suggested to me that ‘your father, he was very special to you, but he wasn’t Nat King Cole … people aren’t going to understand what these old recordings are.’ I almost listened, and it’s because my father wasn’t Nat King Cole and people didn’t know who he was that I thought it was even more important … the concept of the album was even more important because it speaks to every man and woman who has ever had a dream but didn’t pursue it and thought that it didn’t matter.”
 
On what attracts him to certain songs ... “[They] don’t necessarily have to have lyrics that knock you over … If I’m going to approach a ballad, I have to connect to it somehow. That’s melody and lyric ... I use the term loosely because I don’t like labels, necessarily … but as a jazz-influenced vocalist, you look for material that has a strong harmonic sense because that’s where the musicians you surround yourself with are going to shine … that’s what they’re going to be able to put their stamp on.”

On Sinatra's singing style ... “Jazz singer? The best answer is, who cares … Sinatra was my gateway, through my father’s introduction to him and my own study of his massive body of work … At his best he was a highly influenced jazz singer in the sense that he used his voice in a way that would have been considered incorrect in the theater realm, in the classical realm.  He would hold a consonant if he thought it gave more meaning to the phrase … beautiful vocal production yet not perfect and there’s something human about that that makes you listen more closely to how he was trying to interpret the song.”
 
The influence of Katerina’s nightclub …“It was such an interesting realization for me because not only did I feel as if I was coming into my own, as who I wanted to be as a singer, I realized something else, though, that was very important, and that’s the audience. They always say ‘Know your audience and deliver to them,' and I would add that you have to understand who you are as a performer – who you want to be – and if you can, try to cultivate that audience; you need to know how to find that audience and cultivate that and keep them … that’s the audience you want to sing to … they have been very faithful to me, the audience I have built here, and they have always allowed me to do the songs I have wanted to do … allowed me to grow.”
 
On the debut at Birdland October 30th … “That’s the culmination of a dream. There are venues that you say their name and they hold weight. Birdland is one of those. I would say in the jazz world, I would go beyond that. It’s one of those names that just resonates with people. The owner, Johnny Valenti, runs a fantastic club. I have been a fan of Birdland since the first time I went there … he (Valenti) had heard about the album to my father. A big help there was Jonathan Schwartz, famous DJ, author and performer in New York … He was the first to play it in New York and he played it one afternoon, and it just floored me. … He played most of the album on his Sunday show, talked about me and each week he would play a little more ... and he started saying things like, ‘well, this guy’s website shows he’s only performing in Chicago … Paul, if you’re listening, why don’t you come to New York?’ So (Johnny) heard about it then … it took awhile … but, he leaned over one of the last times I was there to see Benny Green and he said ‘I have a Sunday in October. Do you want it?’ I said. ‘Yes.’ He said, ‘Well, I didn’t tell you the date.’ I said, ‘Yes. I’ll take it.’"
 
LISTEN TO THE CONVERSATIONS PODCAST  STITCHER  LIBSYN  iTUNES
VISIT PAUL MARINARO'S WEBSITE HERE
BIRDLAND JAZZ CLUB  HERE
JAZZ SHOWCASE VIDEO HERE
WINTER'S JAZZ CLUB

CONVERSATIONS FTA - BONNIE KOLOC October 22, 2013

Since arriving on the Chicago music scene in the late 60’s, Bonnie Koloc has established herself as one of our most gifted and beloved singers, songwriters and visual artists.

On October 22nd, 2013, as Monroe Anderson and Ed prepared for the Chicago Conversations PBS television program on Old Town School, Bonnie Koloc joined a live edition of the show at the Hubbard Inn in which she discussed her extraordinary career, the challenges she faced with recording companies and includes an acapella performance of Amelia Earhart's Last Flight.

You can listen to the entire Conversations podcast HERE.
 
Bonnie Koloc on where she finds inspiration:
“From everywhere … because I’m very eclectic. I love lots of different things. I love classical music … I love jazz … I like anything that’s honest and true. I was very eclectic from day one and also had a voice that didn’t want to do one thing. I loved to use all of the colors of the voice and all the things that the voice could do. I’m really interested in music that is from the heart and honest.”

On the power of music:
“I truly believe in the healing thing of music. I believe that music is for everyone, not just people who might be born with a very good voice … it’s for all of us … Music helps us heal from all the bad stuff in our life and helps us celebrate that which is good.”

The importance of arts education:
“It’s a different way of thinking … it’s called creative thinking … solving problems in a different way. That’s why to be completely educated, to have a complete education, you have to have the arts in our school. Plus it saves a lot of the kids who, like myself, didn’t fit in or have to deal with all kinds of craziness in their life and can’t concentrate on the straight facts, but can learn through expressing how they feel and who they are.”

Watch Chicago Conversations PBS Special on
Old Town School of Folk Music "Music for Everyone."
Visit Bonnie Koloc's Website

ANDRÉ DE SHIELDS - CONFESSIONS OF A P.I.M.P.

André De Shields returns to Victory Gardens Theater August 26-28 for a production of his one-man show, Confessions of a P.I.M.P. 

On Broadway, De Shields originated the title role in The Wiz and had long runs in Ain’t Misbehavin', Play On! and The Full Monty -- Broadway performances that have earned him two Tony Award nominations and five Drama Desk nominations.

A multiple Chicago Jeff Award recipient, most recently for his show-stopping performance in Jungle Book, De Shields also received an Emmy Award for an NBC broadcast special on Ain’t Misbehavin’. During a break from rehearsals on August 15th, André De Shields talked about his show, an extraordinary 46-year career and what it is that keeps bringing him back to Chicago. 

André’s advice to young performers at the beginning of their careers:
“It is not easy … it is hard for everyone. But remember there are two things that are guaranteed, absolutely guaranteed, in this industry … now here comes the punch line … It’s not fame and fortune … it’s rejection and insecurity … but that’s the test because when you get hungry, and you will get hungry, philosophically hungry and carnally hungry, your stomach will growl for nutrition. When you get hungry, if you can make your meal of rejection and when you get lonely, and you will get lonely, because this narrow path you’re walking is yours and no one else’s … if you can make a companion of insecurity then the universe will conspire to help you because you both will have realized that you have chosen the correct path.”
 
André shares a special moment with (Dreamgirl)Donica Lynn:
“In one of my Cabaret performances in New York I chose to sing ‘And I am Telling You I’m Not Going’ from a male’s perspective, but I didn’t change the pronouns ... and what I learned about that song is that it has very little to do with gender per se … the essence, the heart of that song is ‘I don’t want to be free.’ I shared that with Donica Lynn and with Doug Peck and during their (Dreamgirls)performance they sent a Facebook message to me and it was a photograph of that part of the music with a huge lip imprint of red lipstick from Donica and it meant the world to me ... because apparently she used that doorway as one of the means to get into that song. And when you hear that song with the emphasis on ‘I don’t want to be free’ it really changes what that song is about … it’s not about the man… it’s not about the woman… it’s about the human condition. ‘I don’t want to be alone. I need a companion’ … and that’s that message I was talking about earlier about rejection and insecurity.  We need company … we need ensemble … we need community in this industry. Otherwise we can’t rise.”
 
André on the ‘power of effective storytelling’: 
“If the story is told effectively then it will transcend the problem and transform the life of an individual … it will transcend the problem and alter the government … it will transcend the problem and change the world into the place you want it to be and you need it to be.”

Entire podcast HERE

André De Shields Website HERE

"... it was a photograph of that part of the music with a huge lip imprint of red lipstick from Donica and it meant the world to me ... because apparently she used that doorway as one of the means to get into that song. " André De Shields August 15, 2016

CONFESSIONS OF A P.I.M.P August 27, 2016 with Denise McGowan Tracy and André De Shields

SUBSCRIBE & JOIN THE CONVERSATION