Jo Ann Garrett

Since 2004 Plastic Crimewave (aka Steve Krakow) has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.

Sometimes the Secret History of Chicago Music reads like a novel, with an interesting origin story, lots of detail spanning the artist’s entire career, and a satisfying conclusion. But sometimes I hit a wall, and SHoCM feels more like a mystery story. Even when I don’t ask, those columns are essentially a plea to anyone who might have more information—and in this case, I’m explicitly asking if anyone knows what happened to supremely talented and distinctive soul singer Jo Ann Garrett. 

Garrett was a Chicago sensation in the late 60s and early 70s, but she didn’t break out nationally—probably the main reason I can’t tell what became of her after she left the music business in her early 20s. I consulted a few soul-music experts, and they were all just as stumped as I am. If you can help, write to me please: Steve Krakow, c/o the Chicago Reader, 2930 S. Michigan, suite 102, Chicago, IL 60616.

We do know that Jo Ann Garrett was born in Chicago on March 3, 1949, and grew up on the near west side, near Maxwell Street. After attending Carter Henry Harrison Technical High School in South Lawndale, she moved with her family (including seven brothers!) to the Robert Taylor Homes in Bronzeville, which had opened in 1962. (Other former residents include Mr. T, Minnesota Twins star Kirby Puckett, and rapper Open Mike Eagle.) 

Garrett’s next school was DuSable High, whose famous music department produced a long list of stars under the leadership of Captain Walter Dyett (who retired in 1966 after decades of service). Her reputation as a talented soprano singer caught the attention of her classmate Cormie Vance, who sang with R&B vocal group the Para-Monts (alongside her sister Earlene Vance Coleman, Rose Rice, and McKinley Norris). The Para-Monts released two singles in 1967, one for U.S.A. and the other for Olé Records; Cormie sang lead on the rollicking “Come Go With Me.” 

Vance urged Garrett to audition for WVON DJ and club owner Pervis Spann. Garrett passed the audition, which got her a spot at a talent show at the Regal Theater. She took second place, behind the Five Stairsteps (later of “O-o-h Child” fame), and both artists ended up with record contracts. Garrett was still just 16 or 17 years old, but already her music career was being managed by Spann and Robert “Bob” Lee, who owned a small local label called Hawk Records and worked in A&R for the short-lived but more successful Crash Records.

Chess Records picked up the recordings and released them as Garrett’s first single, and the record did well locally in spring 1966. She began recording in the Chess studios instead, and her output immediately benefited from the amazing talent in the label’s orbit. 

In 1967, Garrett released the driving tune “You Can’t Come In (Big Bad Wolf),” whose B side, “I’m So Afraid,” was arranged by no less a team than Charles Stepney and Gene Barge; both tracks feature backing harmonies by the Dells. Those harmony superstars also appeared on Garrett’s next single, the ethereal “Thousand Miles Away” (a remake of the 1957 Heartbeats hit), which was produced by R&B innovator Andre Williams. (Stepney also arranged its B side, “Just Say When.”) Flavored with doo-wop and bathed in gorgeous strings and reverb, “Thousand Miles Away” earned a lot of Chicago airplay and enough attention in markets outside the city that Garrett could tour.

It’s possible, even likely, that there’s no info on Garrett after 1972 simply because she values her privacy and is enjoying the life she’s made for herself over the past 50 years. But wherever she is, whatever plane of existence she’s on, I hope she knows that her music is still beloved.

Read More

Jo Ann Garrett

Since 2004 Plastic Crimewave (aka Steve Krakow) has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.

Sometimes the Secret History of Chicago Music reads like a novel, with an interesting origin story, lots of detail spanning the artist’s entire career, and a satisfying conclusion. But sometimes I hit a wall, and SHoCM feels more like a mystery story. Even when I don’t ask, those columns are essentially a plea to anyone who might have more information—and in this case, I’m explicitly asking if anyone knows what happened to supremely talented and distinctive soul singer Jo Ann Garrett. 

Garrett was a Chicago sensation in the late 60s and early 70s, but she didn’t break out nationally—probably the main reason I can’t tell what became of her after she left the music business in her early 20s. I consulted a few soul-music experts, and they were all just as stumped as I am. If you can help, write to me please: Steve Krakow, c/o the Chicago Reader, 2930 S. Michigan, suite 102, Chicago, IL 60616.

We do know that Jo Ann Garrett was born in Chicago on March 3, 1949, and grew up on the near west side, near Maxwell Street. After attending Carter Henry Harrison Technical High School in South Lawndale, she moved with her family (including seven brothers!) to the Robert Taylor Homes in Bronzeville, which had opened in 1962. (Other former residents include Mr. T, Minnesota Twins star Kirby Puckett, and rapper Open Mike Eagle.) 

Garrett’s next school was DuSable High, whose famous music department produced a long list of stars under the leadership of Captain Walter Dyett (who retired in 1966 after decades of service). Her reputation as a talented soprano singer caught the attention of her classmate Cormie Vance, who sang with R&B vocal group the Para-Monts (alongside her sister Earlene Vance Coleman, Rose Rice, and McKinley Norris). The Para-Monts released two singles in 1967, one for U.S.A. and the other for Olé Records; Cormie sang lead on the rollicking “Come Go With Me.” 

Vance urged Garrett to audition for WVON DJ and club owner Pervis Spann. Garrett passed the audition, which got her a spot at a talent show at the Regal Theater. She took second place, behind the Five Stairsteps (later of “O-o-h Child” fame), and both artists ended up with record contracts. Garrett was still just 16 or 17 years old, but already her music career was being managed by Spann and Robert “Bob” Lee, who owned a small local label called Hawk Records and worked in A&R for the short-lived but more successful Crash Records.

Chess Records picked up the recordings and released them as Garrett’s first single, and the record did well locally in spring 1966. She began recording in the Chess studios instead, and her output immediately benefited from the amazing talent in the label’s orbit. 

In 1967, Garrett released the driving tune “You Can’t Come In (Big Bad Wolf),” whose B side, “I’m So Afraid,” was arranged by no less a team than Charles Stepney and Gene Barge; both tracks feature backing harmonies by the Dells. Those harmony superstars also appeared on Garrett’s next single, the ethereal “Thousand Miles Away” (a remake of the 1957 Heartbeats hit), which was produced by R&B innovator Andre Williams. (Stepney also arranged its B side, “Just Say When.”) Flavored with doo-wop and bathed in gorgeous strings and reverb, “Thousand Miles Away” earned a lot of Chicago airplay and enough attention in markets outside the city that Garrett could tour.

It’s possible, even likely, that there’s no info on Garrett after 1972 simply because she values her privacy and is enjoying the life she’s made for herself over the past 50 years. But wherever she is, whatever plane of existence she’s on, I hope she knows that her music is still beloved.

Read More

Reader senior writer Ben Joravsky riffs on the day’s stories with his celebrated humor, insight, and honesty, and interviews politicians, activists, journalists and other political know-it-alls. Presented by the Chicago Reader, the show is available by 4 p.m. Tuesdays through Fridays at chicagoreader.com/joravsky—or wherever you get your podcasts. Don’t miss Oh, What a Week!–the Friday feature in which Ben & producer Dennis (aka, Dr. D.) review the week’s top stories. Also, bonus interviews drop on Saturdays, Sundays, and Mondays. 

Chicago Reader podcasts are recorded on Shure microphones. Learn more at Shure.com.

Chicago Reader senior writer Ben Joravsky discusses the day’s stories with his celebrated humor, insight, and honesty on The Ben Joravsky Show.

Read More

Reader senior writer Ben Joravsky riffs on the day’s stories with his celebrated humor, insight, and honesty, and interviews politicians, activists, journalists and other political know-it-alls. Presented by the Chicago Reader, the show is available by 4 p.m. Tuesdays through Fridays at chicagoreader.com/joravsky—or wherever you get your podcasts. Don’t miss Oh, What a Week!–the Friday feature in which Ben & producer Dennis (aka, Dr. D.) review the week’s top stories. Also, bonus interviews drop on Saturdays, Sundays, and Mondays. 

Chicago Reader podcasts are recorded on Shure microphones. Learn more at Shure.com.

Chicago Reader senior writer Ben Joravsky discusses the day’s stories with his celebrated humor, insight, and honesty on The Ben Joravsky Show.

Read More

Jo Ann Garrett

Since 2004 Plastic Crimewave (aka Steve Krakow) has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.

Sometimes the Secret History of Chicago Music reads like a novel, with an interesting origin story, lots of detail spanning the artist’s entire career, and a satisfying conclusion. But sometimes I hit a wall, and SHoCM feels more like a mystery story. Even when I don’t ask, those columns are essentially a plea to anyone who might have more information—and in this case, I’m explicitly asking if anyone knows what happened to supremely talented and distinctive soul singer Jo Ann Garrett. 

Garrett was a Chicago sensation in the late 60s and early 70s, but she didn’t break out nationally—probably the main reason I can’t tell what became of her after she left the music business in her early 20s. I consulted a few soul-music experts, and they were all just as stumped as I am. If you can help, write to me please: Steve Krakow, c/o the Chicago Reader, 2930 S. Michigan, suite 102, Chicago, IL 60616.

We do know that Jo Ann Garrett was born in Chicago on March 3, 1949, and grew up on the near west side, near Maxwell Street. After attending Carter Henry Harrison Technical High School in South Lawndale, she moved with her family (including seven brothers!) to the Robert Taylor Homes in Bronzeville, which had opened in 1962. (Other former residents include Mr. T, Minnesota Twins star Kirby Puckett, and rapper Open Mike Eagle.) 

Garrett’s next school was DuSable High, whose famous music department produced a long list of stars under the leadership of Captain Walter Dyett (who retired in 1966 after decades of service). Her reputation as a talented soprano singer caught the attention of her classmate Cormie Vance, who sang with R&B vocal group the Para-Monts (alongside her sister Earlene Vance Coleman, Rose Rice, and McKinley Norris). The Para-Monts released two singles in 1967, one for U.S.A. and the other for Olé Records; Cormie sang lead on the rollicking “Come Go With Me.” 

Vance urged Garrett to audition for WVON DJ and club owner Pervis Spann. Garrett passed the audition, which got her a spot at a talent show at the Regal Theater. She took second place, behind the Five Stairsteps (later of “O-o-h Child” fame), and both artists ended up with record contracts. Garrett was still just 16 or 17 years old, but already her music career was being managed by Spann and Robert “Bob” Lee, who owned a small local label called Hawk Records and worked in A&R for the short-lived but more successful Crash Records.

Chess Records picked up the recordings and released them as Garrett’s first single, and the record did well locally in spring 1966. She began recording in the Chess studios instead, and her output immediately benefited from the amazing talent in the label’s orbit. 

In 1967, Garrett released the driving tune “You Can’t Come In (Big Bad Wolf),” whose B side, “I’m So Afraid,” was arranged by no less a team than Charles Stepney and Gene Barge; both tracks feature backing harmonies by the Dells. Those harmony superstars also appeared on Garrett’s next single, the ethereal “Thousand Miles Away” (a remake of the 1957 Heartbeats hit), which was produced by R&B innovator Andre Williams. (Stepney also arranged its B side, “Just Say When.”) Flavored with doo-wop and bathed in gorgeous strings and reverb, “Thousand Miles Away” earned a lot of Chicago airplay and enough attention in markets outside the city that Garrett could tour.

It’s possible, even likely, that there’s no info on Garrett after 1972 simply because she values her privacy and is enjoying the life she’s made for herself over the past 50 years. But wherever she is, whatever plane of existence she’s on, I hope she knows that her music is still beloved.

Read More

Jo Ann Garrett

Since 2004 Plastic Crimewave (aka Steve Krakow) has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.

Sometimes the Secret History of Chicago Music reads like a novel, with an interesting origin story, lots of detail spanning the artist’s entire career, and a satisfying conclusion. But sometimes I hit a wall, and SHoCM feels more like a mystery story. Even when I don’t ask, those columns are essentially a plea to anyone who might have more information—and in this case, I’m explicitly asking if anyone knows what happened to supremely talented and distinctive soul singer Jo Ann Garrett. 

Garrett was a Chicago sensation in the late 60s and early 70s, but she didn’t break out nationally—probably the main reason I can’t tell what became of her after she left the music business in her early 20s. I consulted a few soul-music experts, and they were all just as stumped as I am. If you can help, write to me please: Steve Krakow, c/o the Chicago Reader, 2930 S. Michigan, suite 102, Chicago, IL 60616.

We do know that Jo Ann Garrett was born in Chicago on March 3, 1949, and grew up on the near west side, near Maxwell Street. After attending Carter Henry Harrison Technical High School in South Lawndale, she moved with her family (including seven brothers!) to the Robert Taylor Homes in Bronzeville, which had opened in 1962. (Other former residents include Mr. T, Minnesota Twins star Kirby Puckett, and rapper Open Mike Eagle.) 

Garrett’s next school was DuSable High, whose famous music department produced a long list of stars under the leadership of Captain Walter Dyett (who retired in 1966 after decades of service). Her reputation as a talented soprano singer caught the attention of her classmate Cormie Vance, who sang with R&B vocal group the Para-Monts (alongside her sister Earlene Vance Coleman, Rose Rice, and McKinley Norris). The Para-Monts released two singles in 1967, one for U.S.A. and the other for Olé Records; Cormie sang lead on the rollicking “Come Go With Me.” 

Vance urged Garrett to audition for WVON DJ and club owner Pervis Spann. Garrett passed the audition, which got her a spot at a talent show at the Regal Theater. She took second place, behind the Five Stairsteps (later of “O-o-h Child” fame), and both artists ended up with record contracts. Garrett was still just 16 or 17 years old, but already her music career was being managed by Spann and Robert “Bob” Lee, who owned a small local label called Hawk Records and worked in A&R for the short-lived but more successful Crash Records.

Chess Records picked up the recordings and released them as Garrett’s first single, and the record did well locally in spring 1966. She began recording in the Chess studios instead, and her output immediately benefited from the amazing talent in the label’s orbit. 

In 1967, Garrett released the driving tune “You Can’t Come In (Big Bad Wolf),” whose B side, “I’m So Afraid,” was arranged by no less a team than Charles Stepney and Gene Barge; both tracks feature backing harmonies by the Dells. Those harmony superstars also appeared on Garrett’s next single, the ethereal “Thousand Miles Away” (a remake of the 1957 Heartbeats hit), which was produced by R&B innovator Andre Williams. (Stepney also arranged its B side, “Just Say When.”) Flavored with doo-wop and bathed in gorgeous strings and reverb, “Thousand Miles Away” earned a lot of Chicago airplay and enough attention in markets outside the city that Garrett could tour.

It’s possible, even likely, that there’s no info on Garrett after 1972 simply because she values her privacy and is enjoying the life she’s made for herself over the past 50 years. But wherever she is, whatever plane of existence she’s on, I hope she knows that her music is still beloved.

Read More

Otherworld Theatre, known for its sci-fi and fantasy works, takes us into the winter solstice with Tales From the Wandering Wyvern Inn: A One-Shot Immersive LARP. 

If you are a fan of escape rooms, mystery, and/or theater, this show is a LARP dream and a wonderful introduction to the world of live-action role-playing. LARPING is a fun, creative, healthy way to escape reality, and Otherworld also enhances the evening with an escape room element (as opposed to the standard role-playing experience of sitting in a basement around a makeshift table, a la Dungeons & Dragons). There are lights, sounds, costumes, and set pieces. And of course actors—or NPCs (non-player characters) as they’re called in this LARP universe. 

Tales From the Wandering Wyvern Inn: A One-Shot Immersive LARP Through 1/29: Fri 8 PM, Sat 5:30 and 8 PM, Sun 2 PM; no shows 12/23-12/25 or 12/31-1/1; Otherworld Theatre, 3914 N. Clark, otherworldtheatre.org, $65 (includes a beverage); limited to five players/audience members per performance

The wandering wyvern, the setting for the show, is a quaint tavern, located in Amelor, the imaginary world where Chronicles of the Realm, Otherworld’s long-running site-specific LARP series, takes place. If you are unfamiliar with Amelor or Chronicles of the Realm, don’t let that scare you away from partaking in this magical experience. As director and lead facilitator Tiffany Keane Schaefer said before the show, “The NPCs/Actors are trained to meet players/patrons where they are at.”

Before entering the wandering wyvern, players/audience members are given a quest to complete during the show/game. After receiving your quest, you are transported from the serene ambiance of Otherworld’s lobby into the LARP world of the inn. 

During the show’s 90 minutes, I was able to meet some of the inhabitants of Amelor such as Cyrus El’ Tiel, played by NPS/actor Sam Campos. My quest in particular had me keeping an eye on Cyrus, who is an agent of the house of Corsin. Simply put, Cyrus knows all the Amelor tea. In addition to Cyrus, I also had the pleasure of making acquaintances with Rosalind Saltcliff, a princess who was on the runto avoid being married off by her brother, played by Sean Buckley. Other characters I encountered were Tyrell (Blake Hood), Basilei (Jono Mammel), and Ash (Shaun Hayden). 

The entire ensemble is extremely talented and supportive, helping all the players solve the puzzles and riddles necessary for our quests, which kept the show moving at a good pace. (The audience is limited to five players per show, and Otherworld promises that no two shows are the same.) If you are hesitant about LARPING, rest assured Otherworld has safety precautions in place so that audience members and actors can communicate with each other during the show/game about their levels of comfort. 

Since we’re coming up on nearly three years of pandemic overload, an occasional escape could be just what the doctor ordered. Otherworld can help you get away from winter blues by entering a tavern just four blocks away from Wrigleyville but a world away from the sports bar scene.

Read More

Otherworld Theatre, known for its sci-fi and fantasy works, takes us into the winter solstice with Tales From the Wandering Wyvern Inn: A One-Shot Immersive LARP. 

If you are a fan of escape rooms, mystery, and/or theater, this show is a LARP dream and a wonderful introduction to the world of live-action role-playing. LARPING is a fun, creative, healthy way to escape reality, and Otherworld also enhances the evening with an escape room element (as opposed to the standard role-playing experience of sitting in a basement around a makeshift table, a la Dungeons & Dragons). There are lights, sounds, costumes, and set pieces. And of course actors—or NPCs (non-player characters) as they’re called in this LARP universe. 

Tales From the Wandering Wyvern Inn: A One-Shot Immersive LARP Through 1/29: Fri 8 PM, Sat 5:30 and 8 PM, Sun 2 PM; no shows 12/23-12/25 or 12/31-1/1; Otherworld Theatre, 3914 N. Clark, otherworldtheatre.org, $65 (includes a beverage); limited to five players/audience members per performance

The wandering wyvern, the setting for the show, is a quaint tavern, located in Amelor, the imaginary world where Chronicles of the Realm, Otherworld’s long-running site-specific LARP series, takes place. If you are unfamiliar with Amelor or Chronicles of the Realm, don’t let that scare you away from partaking in this magical experience. As director and lead facilitator Tiffany Keane Schaefer said before the show, “The NPCs/Actors are trained to meet players/patrons where they are at.”

Before entering the wandering wyvern, players/audience members are given a quest to complete during the show/game. After receiving your quest, you are transported from the serene ambiance of Otherworld’s lobby into the LARP world of the inn. 

During the show’s 90 minutes, I was able to meet some of the inhabitants of Amelor such as Cyrus El’ Tiel, played by NPS/actor Sam Campos. My quest in particular had me keeping an eye on Cyrus, who is an agent of the house of Corsin. Simply put, Cyrus knows all the Amelor tea. In addition to Cyrus, I also had the pleasure of making acquaintances with Rosalind Saltcliff, a princess who was on the runto avoid being married off by her brother, played by Sean Buckley. Other characters I encountered were Tyrell (Blake Hood), Basilei (Jono Mammel), and Ash (Shaun Hayden). 

The entire ensemble is extremely talented and supportive, helping all the players solve the puzzles and riddles necessary for our quests, which kept the show moving at a good pace. (The audience is limited to five players per show, and Otherworld promises that no two shows are the same.) If you are hesitant about LARPING, rest assured Otherworld has safety precautions in place so that audience members and actors can communicate with each other during the show/game about their levels of comfort. 

Since we’re coming up on nearly three years of pandemic overload, an occasional escape could be just what the doctor ordered. Otherworld can help you get away from winter blues by entering a tavern just four blocks away from Wrigleyville but a world away from the sports bar scene.

Read More

On Thursday night, the Chicago Blackhawks suited up against the Vegas Golden Knights who are one of the best teams in the National Hockey League. This might be the best team in the Western Conference facing off against the worst team in the Western Conference.

As you’d expect, outside of a Taylor Raddysh goal for Chicago assisted by Jonathan Toews and Seth Jones, the Hawks had no chance to do anything in this game. They were beaten by a final score of 4-1 on home ice which marked their fifth straight loss.

Not only is it their fifth straight loss, but they only have one win in their last 16 games. It is obvious that the plan to be one of the worst teams in the league is working. They might even be a little bit worse than expected.

Chicago entered Thursday with the second least standings points in the entire NHL and the only team that trailed them was the Anaheim Ducks (by one point).

The Chicago Blackhawks now find themselves in last place in the NHL.

Well, Anaheim defeated the Montreal Canadiens on the same night so they passed the Blackhawks in the standings. Now, the Blackhawks finally sit in dead last. We don’t know how long that will last or if it will be back and forth all season long but it is a good thing.

The Blackhawks are very bad. They aren’t getting any better without some luck and winning the 2023 Draft Lottery (or coming in second) will really help them with their future. Finishing as low in the standings as possible is a big key to that.

The Ducks might be almost as bad as the Blackhawks right now but they are about a year or two ahead of them in the rebuild. They aren’t getting rid of their best players any time soon. Meanwhile, the Hawks might be losing out on Toews and Kane via trade in the near future.

If there was a year for this to happen, this is a good one. Connor Bedard is the prize for the team that wins the lottery and Adam Fantilli will go to the team that is drafting second. Of course, as mentioned before, finishing in last helps you achieve those goals.

This loss to Vegas is just one of many for Chicago. We will see how they handle the roster ahead of the trade deadline as you can expect some big moves that will make things even worse. For now, look at being in last as a good thing because it very well could be.

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