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Jazz musicians turn an Old Town porch into a stageJamie Ludwigon September 10, 2020 at 11:00 am

Trumpeter Victor Garcia, guitarist Jack Macklin, and pianist Danny Bauer - MATTHEW GILSON FOR CHICAGO READER

Earlier this summer I was walking through a residential part of Lincoln Park south into Old Town when I heard . . . could it be . . . live music? It’d been so long since I’d been to a full-band concert (March 4, to be exact) that as I approached the sound I had visions of that old Looney Tunes bit where Bugs Bunny bursts from his tunnel thinking he’s on Miami Beach, then runs off whooping into what turns out to be the Sahara Desert.

Thankfully, I wasn’t mistaken–I really was hearing a jazz band, playing on the porch of a cute white house. With drums, even. The sizable socially distanced crowd included plenty of dogs and a small circle pit up front (that is, a small child spinning in circles). The music was pretty good too, and best of all, it wasn’t a one-off block party: a sign hanging from the porch fence said the group played every evening, weather permitting.


Red Door Band by Danny Bauer and Jack Macklin
Front-porch concerts continue every evening, weather permitting, until it gets too cold. Personnel vary from day to day. 5-7 PM or so, Eugenie Street west of Wells, free, all ages


The mastermind of the series is pianist, vocalist, composer, and arranger Danny Bauer. He moved here last August and spent the next several months traveling, shuttling between Chicago and Columbus, Ohio, where he led a band called Safety Squad. He finally committed to Chicago full-time in February, and you know what happened next. Pandemic. Venue closures. Lockdown. Isolation.

The lineup of the Red Door Band shifts constantly, but on September 5 it was Danny Bauer (purple shirt) and Jack Macklin (far left), the two core members, plus Tim Seisser (sunglasses), Zack Marks (green pants), and Victor Garcia (blue vest). - MATTHEW GILSON FOR CHICAGO READER

Like many musicians, Bauer was essentially unemployed by the time the shelter-in-place order went into effect in mid-March, so he started delivering for Instacart by day and practicing at night with his friend, guitarist Jack Macklin. Then during the last week in April, he fell and injured his tailbone.

Bauer couldn’t work a delivery job while his body healed, so he put on some dress clothes and asked grocery store managers if they wanted live music at their stores. None of them took him up on it, but when he got home he realized he had a stage right at his front door. As he set up his equipment on the porch, his next-door neighbors gave him a tip jar. “They pulled out a bucket for me and threw a twenty in,” Bauer says. “I played for like an hour and a half and I made, like, $40 or $50. And when I stood up after I was done, my back was completely healed. Like, all the pain was completely gone.”

Trumpeter Victor Garcia, pianist Danny Bauer, drummer Zack Marks, and guitarist Jack Macklin - MATTHEW GILSON FOR CHICAGO READER

The next miracle visited upon Bauer was a sort of musical Field of Dreams scenario: If you play it, they will come. He recruited Macklin, and by May the two had decided to make the porch shows a nightly thing. Word quickly spread, and months later the porch shows have become something of a phenomenon–they’re still going strong every evening from 5 to 7 PM. The ensemble includes a rotating cast of musicians in various formations: On a weekday night you might find Bauer and Macklin playing a chill set with one guest, while on a weekend they might cram five or six players onto the porch for something more robust. The performers have included a mix of emerging artists and established names in the local jazz scene, including bassist Matt Ulery, drummer Jon Deitemyer, vocalist Alyssa Allgood, saxophonist Greg Ward, and drummer Jonathan Marks.

That wealth of talent helps keep the concerts from becoming routine–from set to set, the musicians reliably come up with something unexpected. The weekend shows (when Bauer doesn’t have to worry as much about aggravating the neighbors) lean toward jazz fusion and challenging arrangements, but the band will occasionally throw in a familiar cover by Katy Perry or Marvin Gaye or one of Bauer’s original comedic songs. Jazz has a reputation for being a little impenetrable, but part of the point of these shows is to engage anyone who shows up.

You almost never see strollers at the Green Mill. - MATTHEW GILSON FOR CHICAGO READER

“I’ve always been able to get lots of people to come together, whether it was in high school getting people to do an after-school prank, or in college, getting bands together,” Bauer says. “It’s just always been something that’s been a part of me. I’ve just been like a community person my whole life. So it’s kind of manifested itself again in this.”

The audience might be a few dozen people on a Monday or Tuesday, but it often balloons to more than 200 on a weekend. And it’s not just neighbors: Bauer says he’s met people who’ve come from as far away as Evanston and Geneva just to catch their show. The people-watching can be just as fun as the music. The crowds range in age from toddlers to seniors, and might include families, small groups of friends, first dates, local musicians, and random joggers or other passersby. BYO drinks and snacks are always circulating, and it’s not unusual to see yuppies clamoring around take-out sushi trays or a Domino’s guy wading through the crowd because someone literally ordered “curbside delivery.” Bauer says fans have also sent pizzas to the band.

As the crowd spreads up and down both sides of the street, it gets harder for new arrivals to see much of anything, but plenty of people are happy just for opportunity to gather socially. - MATTHEW GILSON FOR CHICAGO READER

Occasionally the background chatter can be nearly as loud as the music, but Bauer says the musicians are totally cool with that. Some people are coming out because they’re serious jazz heads, while others are just looking for positivity, excitement, and something social to do during an isolated time–and they’re all equally welcome. “We’re so happy that there’s people who are just there to hang, and they probably don’t even really listen to a single note,” Bauer says. “I don’t care. I’m just happy to provide the space for them. And then there’s also the music lovers, and I’m happy to get both.”

In turn, the community the band has created have shown their appreciation, not just in enthusiasm for the music, but in sharing food and booze and opening their pocketbooks. Bauer says that on a really good night, each of the players might go home with a couple hundred dollars in tips.

A portion of the gathered crowd across the street on Saturday, September 5 - MATTHEW GILSON FOR CHICAGO READER

The porch concerts will continue until it gets too cold to play outside. After that, Bauer says he’ll turn his attention to recording some of the material he’s developed over the past year (he’s already posted the four-song EP Porch Power to Spotify). When warmer weather returns in 2021, Bauer thinks the concerts could return in some form, even if social-distancing rules have been relaxed by then. Assuming venues reopen (fingers crossed), the porch shows’ “happy hour” timing would still let musicians and fans make it to late-night club gigs.

Bauer has learned a lot from the experience–perhaps most important is that even when things seem bleak, the universe might still have a couple of blessings up its sleeve. Through the porch concerts, he’s found a creative outlet, a source of income, and a chance to connect with his neighbors and the city’s jazz community. “I’m so grateful,” he says. “I just wanted to play music more than anything else, and I didn’t let anything stop me.” v

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Jazz musicians turn an Old Town porch into a stageJamie Ludwigon September 10, 2020 at 11:00 am Read More »

Frank Leone’s hip-hop experiments make for a beautifully bizarre debut albumLeor Galilon September 10, 2020 at 1:00 pm

Rapper-producer Frank Leone grew up in the town of Monticello, just southwest of Champaign, and began taking music seriously after a chance meeting with Vic Mensa at a downstate Lupe Fiasco show in 2011. Since dropping his debut mixtape in 2015, he’s reworked his sound, moved to Los Angeles, and scrubbed the Web of large chunks of his catalog. His self-released new debut album, Don’t, is full of playful experimentation: He pitches his voice down till it oozes like molasses, and up till it squeaks and hiccups (“Don’t Want”). He builds entire tracks out of languid, subterranean-sounding lounge instrumentation (“Don’t Go,” “Don’t Need”). And sometimes he strays so far from rap’s established sonic vocabulary that he could give “real hip-hop” heads a migraine–on “Don’t Clip,” for instance, he croons in a pitched-up voice atop oceanside indie-rock guitar riffs and cooing background vocals. When people call music “genreless,” they’re often just talking about songs that borrow from so many genres they end up formless pop wallpaper, but Leone’s grab bag of styles cuts against that grain. Nothing on Don’t would recede pleasantly into the background of an ad–its sudden outbursts and unusual shifts feel emotionally purposeful, not calculatedly commercial. v

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Frank Leone’s hip-hop experiments make for a beautifully bizarre debut albumLeor Galilon September 10, 2020 at 1:00 pm Read More »

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Who deserves the Nobel Peace Prize more, Trump or Obama?Dennis Byrneon September 10, 2020 at 12:01 am

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Jacqueline Saper’s “From Miniskirt to Hijab” is a story for our timesTeme Ringon September 10, 2020 at 4:45 am

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Destinos al Aire brings Latinx culture to the drive-inCatey Sullivanon September 9, 2020 at 5:40 pm

When Myrna Salazar founded the Chicago Latino Theatre Alliance (CLATA) in 2016 and presented the first Destinos International Latino Festival in 2017, the longtime artist-activist-entrepreneur launched both a new brand of must-see fall theater and a platform to amplify the voices of Latinx artists.

Last year’s Destinos built soundly on the first two, with dozens of artists flocking to the sponsoring Goodman Theatre and other venues for a six-week series of performances from local, national, and international companies that drew hundreds of audience members.

This year? “Well,” said Salazar, “We wanted Destinos to showcase Latinx talent, and for years, Destinos did that. Then, COVID. So now what?”

Now, Destinos is going drive-in. Destinos al Aire takes place on Thursday, September 17 at Pilsen’s ChiTown Movies. The evening will include an open-air screening of the Mexican rom-com American Curious (directed by Gabylu Lara and set in Chicago and Mexico City), preceded by performances (both live and taped) from the Chicago artists of UrbanTheater Company, Aguijon, Repertorio Latino Theater, Teatro Vista, and the Cielito Lindo Family Folk Music ensemble. WGN reporter Ana Belaval and comedian Mike Oquendo will emcee.

Tickets are $30 per car for the event spearheaded by CLATA, (still) sponsored by the Goodman, and in collaboration with the National Museum of Mexican Art, the International Latino Cultural Center, and the Puerto Rican Arts Alliance. Attendance will be capped at 140 cars, Salazar said. (The $30 fee covers up to six individuals, regardless of how they arrive.)

“It’s unique in that you can watch everything from the security of your car, or bring a mask and lawn chairs and watch that way. You can ride your bike up if you want to. As long as you’re wearing a mask,” Salazar said.

The starry alliance of local Latinx theater companies kicking off the evening speaks to the fact that while Destinos‘s performances are rich with drama, music, and beauty, they are about far more than just entertainment.

Diversity, inclusion, and anti-racism may be at the forefront of a national conversation this year, but Destinos has been all about that conversation for far longer. Like the artists and companies it spotlights, Destinos shows the limitations of the Eurocentric artistic foundation that many (if not most) Chicago theaters have drawn from since Joseph Jefferson was a tyke.

Consider, for example, UrbanTheater Company’s !Dimelo Cantando! The piece by Ivelisse Diaz uses bomba music to tell a story of resistance and rebellion, said UTC artistic director Miranda Gonzalez. The traditional music is rooted in Yoruban culture, the lifelong Humboldt Park resident noted.

“A lot of what UTC is about is decolonizing art and challenging what the Eurocentric ideas of art are and how they dictate making art,” Gonzalez said.

“We’re dealing with dual pandemics in our community–the plague of Black bodies dying at the hands of police and systematic racism on top of an actual plague. Now, more than ever, we have to root ourselves. Connect to the spiritual and stay grounded.

“Ivelisse speaks on that level–her work is vibrational. I’m not sure how else to describe it. There is an ancient sound that only our souls know.

“Though it may be one person up there on stage, you can tell there are many, many people–ancestors–there with her. It’s one of the most beautiful things I’ve ever seen. It’s otherworldly,” Gonzalez said.

As co-artistic directors of the oldest Latinx theater company in Chicago, Aguijon’s Marcela Munoz and her mother, Rosario Vargas, are celebrating their company’s 31st year. They are bringing La Gran Tirana: Descarga Dramatica to the Destinos stage. Munoz describes the work as “a seam of sound and color,” exploring what it’s like to be an artist in exile.

“It’s about how important it is at this time to make sure we’re creating and holding spaces for Latinx artists.” The show uses the sounds and music of the Caribbean to delve into the experiences of immigrant artists, and the impact leaving your homeland can have on your art. “The piece is about finding that artistic aspect of yourself when you’re in a new, strange place away from your motherland,” Munoz said.

With COVID upending almost every aspect of life–economic, familial, spiritual, artistic–Destinos is more important than ever, Salazar said.

“The arts drive the economy but they also infuse your spirit,” she said. “I had a talent agency for 25 years. Now, I want to pay it forward. Support the artists, and get others to support them as well. Will we do this again? What’s to stop us? Nothing.” v






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Destinos al Aire brings Latinx culture to the drive-inCatey Sullivanon September 9, 2020 at 5:40 pm Read More »

96 Hours is popping in lockdown at LinksIrene Hsiaoon September 9, 2020 at 8:00 pm

Along with every other performance venue in town, Links Hall went dark in March of this year, cancelling the 40 remaining shows of the season and leaving its wood floor minus its customary dust and polish left there by the many bodies rolling across its lustrous surface. To launch its new season in a time when audiences and live performance are reinventing themselves, Links Hall is hosting a 96-hour pop-up performance festival–a four-day blitz of remote collaboration between teams of artists and technicians who have never worked together before and never worked together like this–during a pandemic. The resulting performances, ranging from 20 to 45 minutes in length, will be presented over livestream with at least one artist from each team on-site for some time at Links. The event will set the stage for the next year of production at the experimental performance incubator.

“The joke is that it’s like a 24-hour performance festival, except everything takes four times as long in a pandemic,” says executive director Stephanie Pacheco. “How much time do we need if we have to bring cameras and microphones to artists spread across the city? How much time do people need to reimagine what the collaboration process looks like? There are a lot of questions about how to prioritize the work we’re doing as an arts organization that seeks to support independent artists. Links has done a lot of presenting and copresenting, but we’re fundamentally an incubator. Our mission talks about research and development of work as much as we talk about presentation. Presentation is not going to look the same for awhile. Our mission now is supporting artists in creating new work so that two years down the line there’s still work to present.”

In preparation for new modes of presentation, Links has adapted and upgraded its equipment with LEDs and robocams. “LEDs have a spectrum of color choices that you can program, and robocams are controlled from the booth. That way you can keep distance between artists and technicians. It’s all remote in the space,” says production manager Giau Truong. In partnership with music venue Constellation, Links has been developing their theatrical spaces into film and video production studios. “We’ve been getting a lot of inquiries. Artists are looking for spaces to do recording right now. With the equipment we’re installing, we can do things at higher quality than they can do on their own.” But, he emphasizes, “We don’t want to lose the live performance aspect.”

And the 96 Hours Festival is geared to provide some answers–or at least pose some questions–about what live performance looks like now. Curated by Truong and Links partnership coordinator Aaliyah Christina, the festival combines an eclectic roster of multidisciplinary artists in dance, puppetry, storytelling, music, film, and fire-spinning into teams of three, each partnered with a Links Hall technician. With a grab bag of tasks and prompts that include the themes of transformation and exchange, as well as requirements for a live element, a pre-recorded element, some form of audience interaction, some presence at Links, and the use of an object selected by another team, the festival guidelines look like a wishlist crossed with a treasure hunt.

“We want to see what people will come up with,” says Christina. “We don’t want to restrict them too much, but we want them to have an intentional way of devising the work. Especially with our sociopolitical and socioeconomic climate, with COVID, with Black Lives Matter uprisings, and personal and communal things that are happening that can inform everybody’s work, we wanted to see how they manifest with all the artistic backgrounds. We’ll be there to help guide. We want to be transparent and supportive throughout the process.”

Adds Truong, “The 96 Hours Festival gives us an opportunity to experiment and learn from the process as artists, administrators, and technicians. We are learning how to maneuver around this world we’re living and creating in. Links is not in the business of selling content; we’re in the business of being able to provide opportunity, space, and resources for artists to do what they need to do–so I have a day planned for technicians to come in and explore the equipment and learn how to use it so people understand what their options are technically, how to use it, and innovate with it.”

Further in the future, Links anticipates a hybrid audience–a limited live audience at performances and a limitless livestream that would enable accessibility for people in more far-flung areas of the city and beyond. “You reach a lot more people doing livestream than you do with live performance, so why not have both worlds at the same time?” says Truong. “The answer is somewhere mixed in the TV, film, and theater worlds. [In film, TV, and livestream], you’re framing a lot [that] people are seeing. Is there a way to break out of that frame itself?”

Yet both Truong and Christina cite connection as the crucial element that keeps live performances living. “We’re able to experience and witness this thing with other people,” says Christina. “You’re able to witness and experience people witnessing and experiencing you. At Links Hall, you feel connected to the performer even if you don’t know who they are, and there’s a sense of levelness with the performer and the witness, and the viewer. ‘I feel you seeing me seeing you.’ That’s the essence of Links Hall’s live performance.”

“I look at environment and behavioral changes,” says Truong, recalling a past project raising quail. “Their behavior changes with every member you add in–their group behavior changes constantly. With people as well, when you’re in a space, they change how you feel. How do you create that sense by yourself in a space? I’ve been in meditation spaces such as Plum Village by Thich Nhat Hanh in France–you’re there by yourself but feel connected to everyone who’s come into that space to meditate. I’ve been pondering that question of how we create connection, even at a distance.”

“96 Hours will tell us where we’re going,” says Christina. “We have hypotheses but we don’t have any idea what the conclusion may be. We’re not expecting rentals for the new season. We are moving forward with the Co-MISSION residencies for fall and spring. The festival will inform us how to move forward and how we can support artists through this. The first half of the season will not look as it usually does–we won’t have a live show in the space every other week. This will be our blueprint.”

With an industry in radical reconfiguration, Links Hall has remained centered on the needs of artists making new work. “One of the things we heard while talking to artists this summer is that some folks were in critical self-care mode and needed to deal with Maslow’s hierarchy of ‘I need food, I need shelter, I need to make sure I’m healthy and my family is healthy,’ and some artists were furiously creating at home, because that’s what they need to do to survive, and there was a subset of artists that were like, ‘I’d like to be making things, but I just don’t know how, and I don’t know where to begin,'” says Pacheco. “We heard this in the virtual retreat we did in April with the other dance service organizations–people were feeling overwhelmed and don’t know where to start. One of the things I love about Links is that we can give you platforms and tools and resources. It used to be a subsidized rate, and marketing, box office, and technical support. Folks who have never produced a show before get producing support. So now, how do we build a container that then allows people to be creative? We need to set some structured boundaries and walls for people to push out against.” v






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96 Hours is popping in lockdown at LinksIrene Hsiaoon September 9, 2020 at 8:00 pm Read More »