CARL BECKER & SON - CRAFTING MUSIC WITH PAUL BECKER

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Becker violins and cellos -- and the family that makes them -- have a long and storied history. The craftsmanship involved in a "Becker" is an art form all to itself, developed and handcrafted with techniques passed down from generation to generation. Four generations, to be exact. When you ask PAUL BECKER about the extraordinary value and longevity of these instruments, he says, in the proper hands, they only improve with age … and can be immortal.

A visit to the new West Hubbard Street location of the Becker shop in Chicago will give anyone a greater appreciation for the artistry involved in creating these fine instruments. Handcrafted to exacting measurements, each has its own tonal identity, sized to fit the artist and adjusted to their own particular requirements. It is hard to imagine the patience and precision necessary for this highly-detailed work that has kept Paul Becker busy since he got his first bench in the family shop at 13 years old.

What has happened in the decades since was the topic of our conversation when we took a tour of his shop. We brought a 100 year old violin -- a Tracy family heirloom -- for show and tell to see whether or not there may still be some music in it and we discovered more about the Becker family’s extraordinary contribution to creating and preserving their craft.

Why instruments are invaluable …
“Well it is art … Art has a beauty. It produces a human voice. It recreates not just a beauty to look at but a beauty to listen to.”

On the intricate detailing and craftsmanship …
“Everything on a violin is important … ten hundredths of an inch, not one hundredth of an inch ... The measurements are incredibly important. This is much finer than a human hair. You cannot see these moves, yet, you will know those moves … anyone will hear those moves … any musician will feel those moves.”

How to create that special sound …
“I am dealing with engineering, chemistry, psychology, hearing … I mean the hearing part is an amazing thing … being in touch with how what I hear makes me feel is what creates that special sound.”

The inspiration behind a musical masterpiece …
“What I am looking for is an instrument that inspires the musician so they want to practice and find that violin … another corner that is in it … a sound or feel they did not have prior. I am looking for that in my work and if I can inspire a musician, then I am more likely to get that masterpiece of a performance from them.”

Loyola University Chicago
2015 Illinois Family Business of the Year
Small Family Business of the Year
Carl Becker & Son Ltd.
WEBSITE

Paul Becker of Carl Becker & Son talks about a 100 year old violin at his shop in Chicago. March 24, 2017

ELAINE DAME - YOU'RE MY THRILL

There is no one you could name who is anything like Elaine. Dame, that is.

After years of playing concert and club dates all over town and in New York, Elaine Dame is recognized as one of Chicago's most gifted jazz singers and vocal coaches. And she gives back, as we found out in our lively conversation at Winter’s Jazz Club on March 31st, where she’s helping owner Scott Stegman expand programming for the hot new venue in Chicago’s Streeterville neighborhood.

Raised in a family that appreciated music, art and culture, she recalls her parents urging her to sing and take piano lessons. Her grandmother, who passed away recently at 101 years young, was an extraordinary influence in her life, taking her to concerts, theatre and sharing a deep appreciation for art. There was also a long line of spiritual influence at play: her grandfather, a Protestant minister, followed several generations of ministers before him.

The intermingling of music, art, faith and all the encouragement paid off. A flute became the instrument of choice, with choral singing and theatre close behind. Professional aspirations, spurred on by band and choir directors who still proudly come to see her perform, pulled her far away from the small town of Stevensville, Michigan where she spent most of her formative years – first to Pepperdine, then classes at UCLA and then to the Theater Repertory Program at California State Northridge.

In the mid 90’s, after a four-year investment in Chicago’s busy theater scene, things seemed to be stalling a bit. That’s when she discovered Julia Cameron’s The Artist’s Way, an insightful guide to understanding creative potential. The transformation that began all those years ago ultimately helped her to develop a much more centered life, and to recognize that jazz singing, and coaching vocal jazz technique, was her true calling.

Her spiritual compass took a meditative turn as well. Elaine Dame is now a practicing Buddhist. There’s much more to hear in our captivating and enlightening program recorded at Winter’s where she is preparing for her April 25th show – Elaine Dame Sings Ella with the Chicago Jazz Orchestra All Star Quartet.

The impact of The Artist’s Way … “It is an incredible book for anyone who wants to be more creative in their life … I always recommend it to my students … When I did this book not only was it an incredible experience creatively but spiritually it was intense. I had not before or since had that kind of spiritual experience. I felt like I was in this strange zone, in the flow … stuff just comes to you … serendipity … sounds so ‘woo woo’ and I am not a ‘woo woo’ kind of a person but it really did set me on this path. The book dispels the myths about what it means to be an artist … that artists are broke or crazy ... Most artists I know are very well-adjusted, lovely people with families and this is their job … We each have our own blocks … psychologically … when it comes to doing creative things and this book allows you to explore all the myths in your head.” 

Music as therapy … “Thank God for music. It has always been a way for me to relax and meditate … for my brain to slow down and focus on one thing.” 

Skat facts … “You have to study it. It is a language. It is an art form ... You cannot just pretend to be good at it … Initially you have to start just by experimenting … basically stream of consciousness kind of stuff … and imitation … When you first start you imitate the people you love … Once you get passed that and figure out if you have an ear for it … playing around can only get you so far so you have to start studying harmony. It is an ongoing, challenging thing … to break down the way the harmony is moving … what the scale means to that c7 chord and be able to sing that scale … and have a way to get to that next scale … teach them how to do that ... guide tones and all that … You have a map that you can use but you obviously have to be a great listener and move with what is happening. It is a beautiful thing when it works out.”

On practicing Buddhism …“I chant every day and it helps me stay positive. It helps me have what the Buddhists call a high life condition which means one filled with passion, compassion, wisdom, joy and all that good stuff. We all have challenges and should look at them as opportunities … It helps a lot in the music business.”

Coming up at Winter’s Jazz Club … “I am doing an Ella Fitzgerald tribute at Winter’s. It will be her 100th birthday on April 25th... She, more than any other artist, is someone I am obsessed with. It is going to be with Chicago Jazz Orchestra. It is an incredible group and we will have a lot of fun. Hopefully the audience will too.” PODCAST

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WEBSITE

BUY CD - YOU'RE MY THRILL

WINTER'S JAZZ CLUB

CONVERSATIONS

PODCAST ARCHIVE

CAVALIA ODYSSEO

Making its 2017 Midwest debut on April 1st, ODYSSEO brings 65 majestic horses and a football field sized village to Chicago in what has been billed as the largest touring show on earth. As you enter the enormous production complex, you realize that at its heart, ODYSSEO is a unique experience between horse and handler and all of the mechanics that surround this production serve only to enhance the intimate relationship.

On March 27th, we had the pleasure of visiting Cavalia village to speak with the production team, artists and trainers involved in mounting the 2017 version of the show founded in 2003 by Normand Latourelle. An earlier version played here in 2009, but it has grown many times in size, scope and complexity since then. 

For starters, there are nine different breeds of horses from seven countries that perform in free riding displays throughout. The four-legged stars of ODYSSEO were flown in on a 747 and then spent a leisurely two-week break at a local farm in Bristol, Wisconsin to recharge and relax before the run with matinee and evening performances through April 23rd under the white big top. Back at Soldier Field, the crew has worked for 17 days to mount the dazzling series of tents and staging that is transported in 110 semi trucks.

In this week's CONVERSATION, we spoke with Resident Artistic Director Darren Charles about the overall vision of ODYSSEO. It was a bit of a surprise to learn that Sam Alvarez, an electrical engineer, and Elise Verdoncq, an aspiring attorney, had both changed course in their careers and have been with the the show since its inception. Alvarez, an aerialist, performer and coach for the high-flying routines, took us through a few of the show's highlights. Verdoncq told us that after busy days in training, it all comes together for her as a featured performer in Liberty, a unique program element where horses respond only to her voice, body and hand movements.

With over 150 crew members, 50 performing artists, riders, aerialists, acrobats, stilt walkers, dancers and musicians, an enormous hydraulic carousel, 10,000 tons of stone, earth and sand … and horses, everywhere, Cavalia Odysseo is sure to please and not to be missed.

Rider Steven Paulson on the premise of the show … 

“Liberty meaning freedom in French is the premise of our show … Horses at freedom … no bridle, no saddle … Following us based on cues of body language ... It is all about the bond between horse and rider.”

Darren Charles, Resident Artistic Director and Choreographer, on the epic scale of this production …

“We are back with the largest touring show in the world. We have 150 resident employees, 65 horses and 50 artists … aerialists, ground based acrobats, video, equestrians … amazing lighting … It is almost like you are watching a movie rather than watching a show … Something no one has ever seen before.”

Sam Alvarez, Aerialist and Coach, on his change in careers …

“I have been with the show since its beginning … I started as a gymnast, diver, dancer as a kid but I was not looking to be in any circus. I was studying to be a computer electrical engineer … and there was a chance occurrence … I happened to audition for circus … I decided my body is only going to be good at this for so long so why not. I have been in it for over 20 years now I would say.”

Featured artist, rider and trainer Elise Verdoncq on her relationship with the horses …  

“There are horses that will be more sensitive about the way I move and talk. I would say to have a horse completely ready [for the show ] would take a year. If you just train one horse it will take less time but in this number all the horses need to learn their place and that is the longest process … I really enjoy spending my day with my horses. You learn every day with them.”

PODCAST

ODYSSEO by CAVALIA
Soldier Field South Lot
1410 Museum Campus Drive, Chicago
(Entrance at parking gates on East 18th Drive)
TICKETS|WEBSITE 
CALL: 866.999.8111

NOW EXTENDED THROUGH JUNE 3, 2017

JOAN CURTO - YOU'RE THE TOP

JOAN CURTO
HAPPY TALK
DAVENPORT'S
1383 N. Milwaukee
JUNE 9 -11, 2017  
773.278.1830
RESERVE

After speaking with the alluring Joan Curto about her passion for the Cole Porter songbook, collaborating with top musicians and artists, and performing in Chicago's premier musical venues, you know that she has found a sweet spot for music in her busy life. The mother of three sons, whose accomplished professional career has allowed her the freedom to develop a musical style all her own, credits the flexibility, patience and love of her family as the key ingredient.

Joan Curto's musical journey started after a move west in 1989. Almost a decade of musical theater passed before she read about a new club opening in town, Davenport's Piano Bar and Cabaret. The venue immediately provided a fresh, welcoming atmosphere and an intimate showroom for singers. After two sold-out shows of her own, Curto had more opportunities large and small, in and around Chicago and ultimately, New York. In 2003, she received the Chicago After Dark Outstanding Cabaret Artist Award. The busy musical career in the years that followed was recognized by her peers who honored her at the 2016 Chicago Cabaret Professionals Gala at Park West.

Highly regarded today as one of Chicago's most gifted interpreters of the Great American Songbook, Curto produced and starred in the memorable COLE PORTER 125 - A BIRTHDAY CELEBRATION at the Auditorium Theatre. The show last fall brought together superb vocalist's from Chicago's cabaret and jazz communities including Paul Marinaro, Tammy McCann,  Beckie Menzie and Tom Michael all accompanied by Rich Daniels’ City Lights Orchestra. 

We sat down on March 9th to talk about the special qualities needed to balance business, performance and family and plans for the next Auditorium Theatre concert honoring Ella Fitzgerald and Lena Horne entitled ELLA & LENA - THE LADIES AND THEIR MUSIC on November 17th.

Her day job …

“My day job feeds me ... and my night job feeds my soul. The music is a blessing to have but it is not easy to make a full-time living and I needed to make a full-time living ... I have been in pharmaceutical sales for 30 years … It is a great career. I have enjoyed it and it has allowed me to pursue the music without feeling the enormous pressure of having to make a living every day singing …  It has allowed me to develop this career in a slow fashion and allowed me to take risks without worrying too much about it.”

Defining "Cabaret" ...

“There is an intimacy between the performer and the audience … You need to reach out to that audience, share with them and make it personal … It is really about the fourth wall. Cabaret is about not having the fourth wall. You are singing and telling stories directly to these people as yourself. You are not in character ... it is you, as you.”  

Is there a secret …

“When you can bring a life experience to the song, the interpretation and the meaning of the lyrics become richer.

Trial and error …

“I learned a lot from Julie Wilson.  Julie is a great friend of mine and was probably the best lyric interpreter I have ever met in my life or ever seen perform. She would tell me ‘sometimes you just have to try things in front of an audience and they will tell you if that is a good song for you.’ I have sung hundreds of songs. Definitely there are things I sung once and I have never picked up again because it was not the right song for me.”

Thanks to Karen Mason …

“I knew that the best way to make friends was to get into a show. So I auditioned for a show in Wheaton … and I was cast … and I made a lot of great friends … I did a lot of musicals there in the western suburbs ... Then, when Davenport’s opened … I think that Karen Mason opened that room … I saw an article in the paper and I said I want to go down and hear that … After I saw her show I said, ‘I want to do this.’ … I have never been in a musical since.”

FEATURED SELECTIONS

JOAN CURTO WEBSITE  BUY 
PODCAST  ITUNES   STITCHER

COMING UP
JUNE 9-11, 2017 - HAPPY TALK - Davenport's Piano Bar and Cabaret MORE INFO 
NOVEMBER 17 - ELLA & LENA -THE LADIES AND THEIR MUSIC, Auditorium Theatre, MORE INFO

KARL HAMILTON - SUPER TROUPER

From leading roles playing Gomez Addams to Harry Bright, two stops on the cyclone and a wonderful town to call home, Karl Hamilton has been on a wild professional ride these days.

Currently playing now through April 16th in the smash hit Mamma Mia! at the Marriott Theatre, Hamilton has been a fixture on stages for over a decade at dozens of productions at Chicago Shakespeare Theater, Goodman Theatre, Drury Lane Theatre and Porchlight Music Theatre.

The versatile performer earned a Jeff nomination for Best Actor in a Musical for his role in The Addams Family at Mercury Theater in 2015 and was featured in the Chicago Shakes and Off-Broadway productions of Rachel Rockwell’s Ride the Cyclone. Last summer, Hamilton shined in a lead role in Mary Zimmerman’s Wonderful Town at the Goodman Theatre, a big stage treatment of the Bernstein classic.

Karl Hamilton joined the conversation on February 27th to talk about Mamma Mia!, the transition of Ride the Cyclone to New York and his take on the business of show.

On his experience starring in Wonderful Town …

“I am still affected by it in so many ways … It was so beautiful and lush … I got to work with one of the most amazing casts I have ever been a part of. There was so much love in the room. Those are the times when it feels so profound to be an artist … to be an actor … to get to do this thing that I love and it reminds me through all the hardships why I do this.”

Being in the Mamma Mia family …

“It is pure joy … It is hilarity, hijinks, and amazing music. There is something really contagious about ABBA … this is the second time I’ve done Mamma Mia … once you are part of the Mamma Mia family it is part of your blood. It fills your heart.”

On his role as Gomez in the Addams Family ...

“I had so much fun being this passionate, love-at-all-costs, crazy man. It is one of the favorite roles of my entire life.”

On making theatre more accessible …

“There is nothing like the energy in a live theater … I would like to see the shows that we have become accessible to more audiences … the people who cannot afford higher priced tickets. It seems counterproductive to make art just for those people who can afford it.”

His suggestion …

“What I think Chicago is renowned for is its storefront theaters that are trying new and different things. I would love to see some sort of workshop in a mid-sized house where you can get a good sampling of what the effect  would be in a large house and one of the small store fronts … Some pilot program that would adapt maybe dual casting … A way to create more work for the artists without sacrificing the integrity and I think everyone would be able to benefit … I would like for Chicago which has a reputation for being dynamic and inventive to try something new … something that has not been done before.”

The importance of talent …

“I do not believe in talent … Talent is the insidious American Dream. It’s this place on high where all of your problems will be solved. I do not buy it. I think there is persistence. I think there is courage, tenacity and availability to the material … vulnerability … Those are the things I can rely on and those are things I can measure. I cannot measure this ubiquitous talent … Work well with others, be prepared, work hard and never give up. If you can do those four things you can have a career in the artistic world.”

The power of Mamma Mia …

“All of us are having a wonderful time out there. There is nothing not to love about singing ABBA and wearing spandex … except maybe the spandex part … There is something that happens when the story is over and you just get to enjoy some of the songs … you let go … you realize there are opportunities to just feel joy and dance. sing and exult … this is one of those shows. I love doing serious work … work that holds the mirror up to a very dark nature of the human condition. I feel those are absolutely necessary especially this day and age … but you also need the other side. You need the comedy to the tragedy mask. Our show does that.”

MAMMA MIA! - MARRIOTT THEATRE now through April 16th
NOW PLAYING THROUGH APRIL 16th
MAMMA MIA!
Marriott Theater
Ten Marriott Drive
Lincolnshire, IL 60069
847-634-0200 (Box Office)
TICKETS    MORE INFO

MORE CONVERSATIONS at DE USURIS

RACHEL ROCKWELL - MAMMA MIA!

You could say that Rachel Rockwell has spent well over a decade on a tropical island where everyone sings ABBA songs and dances up a storm in spandex.

As a performer, Rockwell was a member of the Broadway company of Mamma Mia! in 2004 and Equity Dance Captain for the 2nd National Tour of the show that followed. Today, Rachel Rockwell is a multiple award-winning choreographer and director – well over a dozen and counting – and has recently completed the Off-Broadway run of Ride the Cyclone, a show that had its US premiere at Chicago Shakespeare Theatre in 2015,

We caught up with Rachel Rockwell to discuss the continuing appeal of Mamma Mia! to new generations of performers and audiences.

CWET: Mamma Mia! has toured around the world for nearly two decades. Another international tour is launching in 2018 and an estimated 60 million people have seen the musical. Beyond the iconic ABBA score, which connects generations together, what is it about the story that keeps audiences engaged and coming back?

RR: At its core, it is about relationships: mother/daughter, and the deep and abiding friendships of women. That is its magic. That's what people come for, beyond the fantastic song book. I say this jokingly - husbands and boyfriends may come and go, but your girlfriends are forever!

CWET: How much of a responsibility does a director and creative team have to the audience to stay within the margins of a high-speed juggernaut like Mamma Mia! or are there areas to explore that might challenge us to look at the work in a different way?  

RR: This piece isn't broken. You really don't need to spend a lot of time reinventing it. You just have to make sure the relationships are compelling, and that it has the expected ABBA sound. Critics are always talking about how the book is thin and formulaic, but I've spent years with this material and I can tell you that it is extremely tightly constructed. You can't force something onto it that it isn't intended to be, or you will crush it. The simplest of terms, when you want a Cosmo, you want a Cosmo. You can upgrade the vodka, but you don't need to put extra things in it, or it will ultimately be disappointing. It just wants to be sweet, bright, and ultimately a lot of fun!

CWET: Is there an example you can highlight from the Marriott production?

RR: The songs are used to tell a specific story. There's a little room for interpretation, but if you're veering too far off road, you run the risk of alienating the audience that comes with high expectations. One exception is the number "Under Attack". In the original production it is a nightmare sequence in which Sophie is besieged by these funny sea creatures. It's visually fun, but it doesn't really tell a story, so we made a nightmare about her dads stalking her and abandoning her. The entire ensemble is dressed like the dads and they all have neutral masks on their faces, so she is adrift in a sea of fathers and can't find the real one. That felt more like a nightmare that our ingenue would have.

CWET: The production at the Marriott Theatre is performed in the round. What advantages does this theatre offer over a more traditional proscenium staging?

RR: I love staging in the round because it is more natural. You face the person you're talking to, the way you do in life. You see people's backs-it's interesting and human. Also, the intimacy of the Marriott space really brings these friendships right into your lap. You really want to be sitting on Donna's bed with her girlfriends because their chemistry is so real (in part, because they are wonderful friends in real life), and the cast is so close you can get up and dance with them. And people do, which I love!

CWET: Mamma Mia has been a big part of your life. What new rhythms appear when you revisit it again with the next generation of actors, singers and dancers?

RR: When I was a dance captain, my job was maintain someone else's vision of the material. Still, I had to analyze it as if the vision were mine, so I could inspire and "sell it" to the performers. Every time I dig deeply into the material, I have more respect for what Phyllida Lloyd and Catherine Johnson created, along with Anthony van Laast's choreography and Martin Koch's exquisite orchestrations and vocal arrangement. No other juke box musical has this kind of international success. They really struck gold. I feel privileged to know the history of the making of this piece first hand. I think it helped me understand what is sacred and where you can afford innovate. I'm really happy to be a part of a piece that is bringing a lot of joy to the audience. Joy is not to be underestimated.

NOW PLAYING THROUGH APRIL 16th
MAMMA MIA!
Marriott Theatre
Ten Marriott Drive
Lincolnshire, IL 60069
847-634-0200 (Box Office)
TICKETS    MORE INFO

Images and video courtesy
Marriott Theatre & Heron Agency

JOHN WILLIAMS - DRAWN TO THE MUSIC

Midway through the conversation with John Williams, he becomes introspective. He recalls introducing musician friends of his father to a rare copy of the O’Neill collection of traditional Irish music, an out-of-print anthology that had been given to him as a gift. The men select a title they recognize and Williams sight reads the melody on the piano accordion. As the mournful wail pours out, the men wept. It was then that Williams realized the powerful connection of music. He was 12 years old.

Today, John Williams is a five-time All-Ireland Champion master accordionist and highly regarded among a select group of musicians playing tradition Irish music. He has performed in rooms, large and small throughout Chicago, the United States and Ireland. His original music and instrumentals can be heard in the 2002 Tom Hanks film, Road to Perdition and he recently performed with Prairie Home Companion to a sold-out Symphony Hall with host Chris Thile.

John Williams joined the conversation on February 26th just prior to a community session with a dozen musicians at the Celtic Knot in Evanston to talk about growing up in a musical family and how his music has served as a bridge to the past for the next generation.

There’s something about Irish music …

“Irish music is very unique in that you can have people of all ages playing alongside each other at different skill levels as well. There is something about the music that accommodates merely adequate musicians and virtuosic mastermind musicians. It is a strong and flexible type of music that can be played conversationally in many different ways.”

The relationship between Irish dance and music …

“Playing for dancers is almost at the bedrock of where this music evolved from and it is not only that the music is provided for dancing, the dancing also affects, infects and cultivates the musicians. Back in the villages on the west coast of Ireland, there might be really good dancers in the village but maybe only one, two or three good musicians. The dancers would have to bring the musicians up to snuff through the combination of body movements, footwork and how they can light up a place with energy. The musicians get the message ‘Boy we better get on the train or we’ll be left behind.’”

The importance of playing in Ireland …

“All of the feel for the music rubs off on you. You gain more repertoire …  you gain the humor in the music. There is kind of a joviality in the light side of this music and there is a depth and a darkness on the deeper side of the music that you come in touch with … You really get a feel for the fabric that weaves its way through life at the village level.  It is an honor when someone asks you to play at a marriage or a funeral because these are life passage events.”

The legendary Irish musicians John Williams and Jimmy Keane close their March 4th show -- A Mighty Squeeze -- at Chief O'Neill's Pub & Restaurant in Chicago with "The Chicago Reel" in celebration of Chicago's 180th birthday. Katie Grennan step dances.

WEBSITE 
CD | MUSIC

CELTIC KNOT PUBLIC HOUSE Sunday Afternoon Session
GALWAY ARMS Sunday Evening Session

O'NEILL'S HIBERNICANA
Chief James O’Neill Collection of Irish Traditional music of the 18th and 19th centuries can be found at The University of Notre Dame’s Hesburgh Libraries

John Williams and step-dancer Katie Grennan join Chris Thile and the band (Rich Dworsky, Chris Eldridge, Brittany Haas, Sarah Jarosz, Paul Kowert, and Ted Poor) for "Within A Mile Of Dublin," "Seany Dorris' Reel," and "PJ's Pecurious Pachelbel Special" on our January 14, 2017 broadcast

John's website: http://www.johnwilliamsmusic.com/

Katie's website: http://www.katiegrennan.com/

https://www.prairiehome.org/shows/54685

(Courtesy Prairie Home Companion)