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Showing posts with label Mayne Stage. Show all posts
Showing posts with label Mayne Stage. Show all posts

Thursday, April 16, 2015

INCOMING: Ukrainian “ethnic chaos” band DakhaBrakha Rocks Mayne Stage With 2 Shows THIS Sunday 4/

Chi, IL Live Shows On Our Radar

This Sunday, April 19, at the Mayne Stage do not miss the band Rolling Stone has dubbed the "Best Break Out," DakhaBrakha, will return to Chicago to perform two shows, one at 6:00pm and again at 8:00pm. Click here for full show details and to order tickets. (18+) $25 General Admission | $30 Day Of | $40 Preferred Seating.



Fresh from lauded appearances on Prairie Home Companion and at Bonnaroo, DakhaBrakha is touring the U.S. this spring. Rolling Stone gushes that DakhaBrakha had "one of the most responsive crowds of the weekend" of their Bonnaroo performance.

DakhaBrakha is a world-music quartet from Kyiv, Ukraine. Reflecting fundamental elements of sound and soul, Ukrainian “ethnic chaos” band DakhaBrakha, create a world of unexpected new music.

The name DakhaBrakha is original, outstanding and authentic at the same time. It means “give/take” in the old Ukrainian language.



DakhaBrakha ...
Refined yet saucy, eerie yet earthy, Ukrainian music has languished in relative obscurity, though its achievements are diverse and sophisticated: complex polyphonic singing with interlocking lines so tight the ears buzz, long and philosophical epics, humorous ditties, instrumental virtuosity, and raucous dance tunes.

DakhaBrakha knows these sources well: the three female vocalists have spent many summers traveling around Ukraine’s villages collecting songs and learning from elder women in remote areas. Like these village tradition-bearers, they have spent years singing together, a fact that resonates in the beautifully close, effortlessly blended sound of their voices.

Now the group is ready to share this music with the U.S.! 

Ethno-Chaos: DakhaBrakha Reinvents Ukraine’s Unsung Roots Music With Global Finesse
A shadowy procession to the pounding of drums, to the murmur of a cello, morphs into an anthem, an invocation, a wild and wacky breakdown. Drones and beats, crimson beads and towering black lambs-wool hats all serve as a striking backdrop for an unexpected, refreshingly novel vision of Eastern European roots music. This is the self-proclaimed “ethno-chaos” of Ukraine’s DakhaBrakha, a group that feels both intimately tied to their homeland, yet instantly compelling for international audience.

“We just want people to know our culture exists,” muses Marko Halanevych of DakhaBrakha, the remarkable Kyiv-based ensemble that has broken down the tired musical framework for Ukrainian traditional music. “We want people to know as much as possible about our corner of the world.”

The quartet does far more than introduce Ukranian music or prove it is alive and well. They craft stunning new sonic worlds for traditional songs, reinventing their heritage with a keen ear for contemporary resonances. With one foot in the urban avant-garde theater scene and one foot in the village life that nurtured and protected Ukraine’s cultural wealth, DakhaBrakha shows the full fury and sensuality of some of Eastern Europe’s most breathtaking folklore.

Fresh from lauded appearances on Prairie Home Companion and at Bonnaroo, the group is touring the U.S. this autumn. Rolling Stone dubbed the band Bonnaroo's "Best Break Out," gushing that they had "one of the most responsive crowds of the weekend."

Refined yet saucy, eerie yet earthy, Ukrainian music has languished in relative obscurity, though its achievements are diverse and sophisticated: complex polyphonic singing with interlocking lines so tight the ears buzz, long and philosophical epics, humorous ditties, instrumental virtuosity, and raucous dance tunes. Ritual and ribaldry, urbane composition and rural celebration, Asian influences and Western harmony all combined to give contemporary musicians a true wealth of potential sources.



DakhaBrakha knows these sources well: the three female vocalists have spent many summers traveling around Ukraine’s villages collecting songs and learning from elder women in remote areas. Like these village tradition-bearers, they have spent years singing together, a fact that resonates in the beautifully close, effortlessly blended sound of their voices. Marko grew up steeped in village life, and draws on his rural upbringing when contributing to the group.

Yet the young musicians and actors were determined to break away from purist recreations and from the stale, schmaltzy, post-Soviet remnants of an ideology-driven folk aesthetic. Urged on by Vladyslav Troitsky, an adventuresome theater director at the DAKH Center for Contemporary Art, a cornerstone of the Kyiv arts underground, the group resolved to create something radically different. They wanted to experiment, to discover, to put Ukrainian material in a worldly context, without divorcing it from its profound connection to land and people. That’s why tablas thunk and digeridoos rumble, filling out DakhaBrakha’s sound, and yet never overshadow the deeply rooted voices and spare, yet unforgettable visual aesthetic.

“The beginning was pretty primitive,” recalls Halanevych. “We tried to find rhythms to match the melodies. We tried to shift the emphasis of these songs. We know our own material, our native music well, yet we wanted to get to know other cultures and music well. We started with the Indian tabla, then started to try other percussion instruments. But we didn’t incorporate them directly; we found our own sounds that helped us craft music.”

Through this experimentation and repurposing of instruments from other cultures to serve DakhaBrakha’s own sound, the band was guided by the restraint, the elemental approach that owed a debt to the emotionally charged minimalism of Phillip Glass and Steve Reich.

“At the same time as we explored ethnic music, we got interested in minimalism, though never in a way that was literal or obvious,” Halanevych explains. “The methods of minimalism seemed to us to be very productive in our approach to folk. The atmospheric and dramatic pieces that started our work together were created by following that method.”

This mix of contemporary, cosmopolitan savvy and intimacy with local traditions and meanings cuts to the heart of DakhaBrakha’s bigger mission: To make the world aware of the new country but ancient nation that is Ukraine. “It’s important to show the world Ukraine, and to show Ukrainians that we don’t need to have an inferiority complex. That we’re not backward hicks, but progressive artists. There are a lot of wonderful, creative people here, people who are now striving for freedom, for a more civilized way of life, and are ready to stand up for it.”

Don't miss this! Sunday, April 19, at the Mayne Stage, DakhaBrakha will return to Chicago to perform two shows, one at 6:00pm and again at 8:00pm. Click here for full show details and to order tickets. (18+) $25 General Admission | $30 Day Of | $40 Preferred Seating.


Wednesday, September 17, 2014

INCOMING: Shawn Maxwell's Alliance & William Kurk Enterprise at Mayne Stage #ChiILPicksList

CHI, IL LIVE Shows On Our Radar
ChiIL Live Shows' ChiIL Picks List

October 17, 2014 | Show Starts 8:00 pm (7:00 pm DOORS)


As a performer and composer, Shawn Maxwell has established himself as a creative force on the vibrant and diverse Chicago music scene. For more than a decade, he has been leading his own groups with some of the city’s top young talent, and is an accomplished sideman on stage and in the studio.  Shawn has released six albums of all original works: Originals (2005), Originals II (2008), Maxwell’s House (2009), Urban Vigilante (2011), Shawn Maxwell’s Alliance (2014) and Burning Bridges (2014). The last four were released on the Chicago Sessions Label.
Shawn Maxwell’s Alliance started as an experiment; a gathering of friends to play some new music without stereotype or limitation. The resulting debut album, Shawn Maxwell’s Alliance stands as a new approach and direction, adding unusual instrumentation and distinct arrangements to Shawn’s powerful voice. Jazz, Folk, Classical, Pop & Funk are but some of the genres included in the writing for this project.

Members of the group include:
Shawn Maxwell – alto saxophone/flute/clarinet
Casey Fitzpatrick – soprano saxophone
Keri Johnsrud – voice
Mitch Corso – guitar
Stephen Lynerd – vibraphone/percussion
Marc Piane – bass
Stacy McMichael – bass
Meghan Fulton – french horn
Rachel Maxwell – french horn
Paul Townsend – drums

www.shawnmaxwell.com

William Kurk Enterprise


William Kurk has always been passionate about the personal vision of art. An ambassador to the Chicago music scene by virtue of efforts to support fellow artists and the continued pursuit of maintaining original ideas, released five studio albums: 'The Sound: Vol.1' (2004), 'The Sound: Vol. 2' (2007), 'The Sound: Vol. 3' (2009), 'Pop Fusion' (2011), and 'Super Pop Fusion' (2012). Members of the Grammy-award winning band Yellowjackets are featured on the third album: Bob Mintzer and Will Kennedy on the contemporary jazz hit, “Another Day”. William Kurk has also been a host to many events and shows around Chicago, as well as reviewed several indie projects under the alias ‘The Musicianarian’.

Other studio credits outside of his own include: Seal, Melba Moore, Dwele, and Maysa Leak among many others. The William Kurk Enterprise- "LIVE IN CHICAGO" DVD was released in 2011, which is a live concert compilation of Kurk's ensemble performing across Chicago.

Some of the other notable accompaniment work for Kurk includes: Dionne Warwick, Melba Moore, Martha Reeves, Koko Taylor, Stanley Jordan, Kindred The Family Soul, Andre DeShields, Chico DeBarge, Eric Roberson, Frank McComb, Malcolm-Jamal Warner, KRS-ONE, Julie Dexter, and Bill Cosby. Kurk has also been featured by the Chicago Music Association as one of the rising young composers on the scene, and is currently the keyboardist for R&B/Funk legend Steve Arrington. The future will present more music to come from William Kurk, as the latest project will be a tribute album to all the artists that have been an influence to the musical journey. The legacy continues. 


Tickets $20.00



Monday, January 7, 2013

Jess Godwin & Matt Ryd at Mayne Stage 1/18/13




CHI, IL LIVE SHOWS ON OUR RADAR:

Chicago singer-songwriter Matt Ryd, best known for the song "Healed" (as featured on the TV series Scrubs), will be opening for Jess Godwin @ Mayne Stage on Friday, Jan. 18.

Matt will be debuting new material, including a track featuring Mike Mentzer (ex-I Fight Dragons).



Click here for Matt Ryd's site.

Click here to get your tickets.

Mayne Stage Presents

Jess Godwin
featuring Matt Ryd and April Henry

Friday, Jan 18, 2013 8:00 PM CST 
ChicagoIL
$10
all ages



Monday, November 19, 2012

CHI, IL Live Shows On Our Radar: 3 Multicultural Favs




Sones de México Ensemble, 13 B'ak'tun (all ages)


Tour Appearance
12/01/2012, Sat 
Chicago, IL 


1328 W. Morse Ave. 
Show: 7:00 pm & 10:00 pm 

Advance General Admission = $20 Day of Show General Admission = $25 VIP guaranteed seat = $35 

Under 18 = $15 Groups of 10 or more = $15 per person Boxoffice: (773) 381-4551 or maynestage.com $5 valet parking available. 

Ask about dinner packages.

It’s not the end of the world, but a turn of the wheel. December 21, 2012 marks the beginning of a new era according to the Mayan calendar, that mathematically elegant achievement that has been misread by doomsayers worldwide, and means the end of one of the cycles of the Mayan calendar, the b’ak’tun (approximately 394 solar years).



Henry Cole & the Afro-Beat Collective, Roots Before Branches (18+)

Tour Appearance
12/13/2012, Thu 
Chicago, IL 


1328 W. Morse Avenue 
Tix: $25-$15, Doors Open: 6:30 pm, Show: 8:00 pm 
Ph: 773.381.4554  

Quicksilver Puerto Rican drummer Henry Cole knows how Wayne Shorter might have jammed with Fela Kuti. Or what Miles would have done if only he’d gone Afro-Caribbean with his rock-jazz hybrids. He hears how jazz can grab the rootsy sounds of bomba, plena, and Cuban rumba, and sparkle with electro sheen and rock energy.






Kodo 2013:  One Earth Tour

The Delicate, Powerful Breath of the Past:  Living Legend Tamasaburo Bando Leads Kodo, Finds Inspiration on Japan’s Sado Island

Tour Appearance
02/13/2013, Wed 
Chicago, IL (all ages)


220 South Michigan Avenue 
Show: 7:30 PM 
Ph: 312.294.3000 Single Tickets on sale Friday August 10, 2012.


The visceral intensity, the athleticism, of taiko drumming in the hands of a master group like Japan’s Kodo may feel like the polar opposite of kabuki theater’s controlled, nuanced performances. Yet when Kodo announced it had found a new Artistic Director in kabuki icon Tamasaburo Bando—often referred to simply as “Tamasaburo”—it made perfect sense.

They both draw on the deep well of traditional Japanese culture, rooted in a long lineage and sense of place that bring unflagging precision and profound personal commitment to their work. It runs through the explosive power of a giant booming drum stroke and through the most delicate of hand motions, though the harvest celebrations and demon dances to the most refined and urbane stages.

Now their joint labors are coming to America in early 2013, with a tour that will feature several re-envisioned and new pieces guided by Tamasaburo’s distinct aesthetic and deep experience.

Tamasaburo, known for his stunning, subtle onnagata (female roles), grew up in a kabuki family, steeped in the art form’s complex movements, visual language, and painstaking stagecraft. A performer since his early teens, the actor rose to prominence, winning a worshipful following worthy of a Hollywood star. He wowed arthouse fans by performing in films by revered European directors such as Andrzej Wajda. He was recently declared a Living National Treasure, one of the highest honors bestowed on prominent Japanese citizens.

Yet the master performer decided to devote himself to an artistic venture located in one of the remotest places in Japan—Sado, an island the size of Okinawa off Japan’s northwest coast—to work with the world’s preeminent drumming ensembles, Kodo.

“I have been visiting Sado Island regularly for the past ten years to work with Kodo, directing the performances, as well as appearing on stage alongside the ensemble,” Tamasaburo reflected in a recent statement about his work with Kodo. “Through my involvement with these productions, I realized the importance of confining yourself to one specific place to train. Getting away from the city where you are surrounded by technology, you face yourself, come face to face with your purest form. In the natural surroundings of Sado, you can experience a rare opportunity to get back in touch with your own soul and can even sometimes feel the concealed breath of ancient times on your own skin.”

Tamasaburo and Kodo have felt this breath on Sado. The island saw an influx of new inhabitants when gold was discovered during the Edo period, as well as several centuries of artists and intellectuals in exile, extraordinary men banished by Japan’s rulers for political reasons. “Many cultures in turn came to Sado on thousands of ships from all over Japan. That made the island’s culture very complex and interesting,” notes Kodo member Jun Akimoto, who has worked with the group for over a decade.

Though intimately tied to the cultural developments on the rest of Japan, remote Sado has retained an astounding level of traditional culture, roots that express themselves in everyday moments. Across the island, for example, foodways long forgotten elsewhere on Japan still thrive, from tiny home noodle parlors to the freshest of sushi. Prized sake is brewed from hand-planted and –harvested rice—agricultural practices learned by every Kodo apprentice to deepen their understanding of traditional culture.

On this unique foundation, Sado Island became a haven for artists seeking a different, more communal approach to creativity and tradition in the mid-20th century. Growing from a dedicated community of seekers, Kodo has developed its own way of life, trained hundreds of apprentices, built a remarkable arts village. In Kodo Village, not only do musicians gain intense discipline, commitment, and an enviable skill set; they also work in the fields, perfect their practice of the traditional tea ceremony, or help build sustainable and sleek furniture in the village’s workshop.

This organic totality of artistic vision attracted Tamasaburo, who happily set aside urban life for the quiet, almost magical remoteness of Kodo Village. The seasoned artist has grasped his new role as an opportunity to challenge himself, Kodo’s performers, and his audiences more deeply. Tamasaburo envisions Sado’s isolation as a way to connect with some of the performing arts’ most vital currents.

“Human beings cannot exist without nature,” he reflects. “That is why we use the arts to communicate nature, and it is only when we become free from impeding thoughts that we can become one with it. Facing the taiko, having acquired sufficient technique and control, players can forget their body, awareness, desires, hopes, and egos the moment they reach that state of oneness, and everyone who is present will share that indescribable sense of transcendence.”


Tuesday, November 13, 2012

Men Without Hats & Bow Wow Wow THIS Sunday




Mayne Stage...New Wave...Sunday's gonna be a big dance party.   Come see 80's favs with some stellar new tunes, and classics.

Get your tickets here.

Mayne Stage Presents

Bow Wow Wow and Men Without Hats

Sunday, Nov 18, 2012 7:30 PM CST 
ChicagoIL
18 years and over



BOW WOW WOW AND MEN WITHOUT HATS


Men Without Hats:
Men Without Hats is a Canadian New Wave group from Montreal, Quebec. Their music is characterized by the distinctive baritone voice of their lead singer Ivan Doroschuk as well as their elaborate use of synthesizers and electronic processing. They achieved their greatest popularity in the early to mid 1980s with their most successful single, "The Safety Dance", a Top 10 hit in both the US and the UK, as well as other countries including South Africa. Their other big success was the 1987 hit, "Pop Goes the World".






Bow Wow Wow:
Bow Wow Wow’s history may be short but it’s complex. Over their four album life span, Bow Wow Wow’s music ranges from simple, goofy, non-sensical tunes to complex, crisp pop masterpieces. Bow Wow Wow’s music has been described as a pastiche of Latin and African beats, 50’s rock-n-roll, and spaghetti western soundtracks. The band packaged all of this together with an incredible sense of humor and vigor. With thundering African/Latin percussion and twangy, Duane Eddy guitars, Bow Wow Wow struggled to maintain a consistent image and sound through a host of record producers in their short life span. But despite the numerous people who shaped their sound from 1980-1983, a strong Bow Wow Wow identity remained intact. That unique style created a wonderful antithesis to the gloom of the London and U.S. music scene in the early 80’s. Unemployment and inflation were at record highs in both countries. As Annabella Lwin (lead singer) said in 1981: “I hate London. It’s just really horrible. I just really hate it. It’s depressing, you know. At the moment anyway, it’s depressing.”


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