When I originally conceived the idea for my quartet People, Places & Things the original focus was on investigating and reinventing some of the under-recorded, under-recognized aspects of Chicago jazz circa 1954-60. Not in a literal way, but in way that was informed by a modern progressive “jazz” unit. I took it on in the same way that a Ph.D candidate might work on a dissertation - conducting interviews, assembling old newspaper clippings, and of course buying (and borrowing) recordings. For me this couldn't be a tribute record, but rather like jumping into an ocean.

That being said, I'm still in the midst of this “dissertation” with the recent release of About Us (482 Music) and the forthcoming third record in the series, Stories and Negotiations, bringing three ubiquitous members of Chicago in the 50's into the fold (due out in April on 482 Music). 

In the process I've taken to daily reading from the extensive website The Red Saunders Research Foundation. Although named after the noted drummer/bandleader, the site is an extensive data base of a forgotten time period in Chicago music:

"Since 1997, the Red Saunders Research Foundation has been dedicated to increasing our knowledge of the musicians who filled the clubs and recording studios of Chicago with great music during the two decades after World War II.

Some musicians from Chicago were appreciated by the fans early on, like Gene Ammons and Johnny Griffin--yet their full worth only gradually become apparent to jazz critics over the years. Others were not widely appreciated until much later in their careers, like John Gilmore, Clifford Jordan, Norman Simmons, or Muhal Richard Abrams. Far too many others have been forgotten."

It has proven to be an invaluable asset to me in not only learning about venues, musicians and labels, but also giving leads and depictions of the state of the music industry. From the usage of ads placed in newspapers such as the Chicago defender or the records acquired through the musicians Union, the website does more than keep a history of music, but rather points to the social/cultural development in a time period of one of America's great cities.

To hear how People, Places & Things have worked to make the music of this time period our own check out these streams:
Proliferation
About Us
Stories & Negotiations

Over the past couple of years I've gotten the chance to perform very frequently in Poland. To non-musicians there is a curiosity as to why? Trying to explain in words the vibrant energy and reception that I and other Chicago based musicians have experienced wouldn't quite do it justice – you would have to experience it first hand. I know that not everyone can just make the trip, but maybe the best example of the unique environment and connection to Chicago is the  Made In Chicago event that will take place in Poznan, Poland this November. In its' fourth year the event showcases a wide array of contemporary Chicago Jazz and improvised music. I had the extreme pleasure of performing there last November and this year's edition seems to have out done itself. Conceptually the event takes aspects of the Chicago landscape (events like the Saxophone summit, presentation of new commissions, workshops for students) and transplants it in the western Polish town. The event is the brain child of Wojtek Juszczak (one of Europe's most largest supporters and promoters of Chicago Jazz) and Jazz institute Executive Director Lauren Deutsch. The two have worked together as programming partners with  Juszczak staff at the cultural center Estrada Poznańska the taking the lead on production.  

The 2009 edition show (see below for full line up). Per usual there is the featured blowout set  this year presented by the fantastic saxophonist and composer Ed Wilkerson. The rest of the schedule includes representatives of the AACM, top-shelf local working bands, and ad hoc groups built around the visiting artists.

A festival like this does more than give Chicago musicians the chance to play on foreign soil —it also creates a international brand and identity to the exciting things they’re doing with Chicago jazz.

Friday, 20 November 2009, 8:00 p.m., Scena na Piętrze Theatre
8 Bold Souls
Edward Wilkerson saxes
Mwata Bowden saxes, clarinets
Tomeka Reid cello
Ike Jackson trombone
Gerald Powell tuba
Robert Griffin trumpet
Dushun Mosley drums
Harrison Bankhead bass

Friday, 20 November 2009, 10:00 p.m.,Blue Note Club
Willie Pickens Trio
Willie Pickens piano
Dushun Mosley drums
Lorin Cohen, bass

Saturday, 21 November 2009, 8:00 p.m., Scena na Piętrze Theatre
Indigo Trio
Nicole Mitchell flutes
Harrison Bankhead bass
Hamid Drake drums

Saturday, 21 November 2009, 10:00 p.m., Blue Note Club
Saalik Ziyad The 5 after 7 Project
Saalik Ziyad vocal
Fred Jackson saxes
Shaun Johnson trumpet
Dushun Mosley drums
Lorin Cohen, bass
Willie Pickens piano

Sunday, 22 November 2009, 8:00 p.m., Scena na Piętrze Theatre

FINAL CONCERT
ED WILKERSON’S CHICAGO ENSEMBLE
Edward Wilkerson saxes, composer, conductor                                                                       
Mwata Bowden saxes, clarinets, composer, conductor                                                                       
Tomeka Reid cello
Ike Jackson trombone
Gerald Powell tuba
Robert Griffin trumpet
Saalik Ziyad vocal
Fred Jackson saxes
Shaun Johnson trumpet
Willie Pickens piano
Dushun Mosley drums
Harrison Bankhead bass
Nicole Mitchell  flutes
Lorin Cohen, bass



Friday, 27 November 2009 , 8.30 PM   Blue Note
ORBERT DAVIS QUINTET
Orbert Davis  trumpet
Ari Brown tenor sax
Ryan Cohan  piano
Stewart Miller  bass
Ernie Adams  drums


Saturday, 28 November 2009
8 PM – concert
Aula NOVA - The Ignacy Jan Paderewski Academy of Music in Poznan
/ Music Conservatory/

CHICAGO  JAZZ PHILHARMONIC
“Collective Creativity”
ORBERT DAVIS – conductor, trumpet, composer
Stewart Miller - bass
Ernie Adams - drums
Ryan Cohan - piano
Ari Brown – reeds
Mwata Bowden – reeds
Nicole Mitchell – flutes

After a bit of a delay the new People, Places & Things record has finally arrived. Instead of doing a CD release show, we’ve decided to do a CD preview event at the Hideout Wednesday August 5. We’ll get started at 10 pm sharp (seriously) and with the entrance fee of $12 you’ll receive a copy of the new album. The official street date won’t be until October, but by that time I’m hoping to have the third installment of this project finished.

Below are the liner notes from the record to further explain where People, Places & Things are at in our development.

The original focus of our quartet was to investigate and reinvent some of the under-recorded, under-recognized aspects of the vibrant Chicago jazz scene circa 1954-60.  On Proliferation, we brought ideas and new approaches to music of another time.  This second offering is primarily About Us.  (A forthcoming third document will bring us full circle; inviting principal players of that past to share in the ideas of today.)

To borrow from both Muhal Richard Abrams and Sun Ra (two of the most significant musicians in the Chicago legacy), numerology isn't lost in the underlying concept here.  On Proliferation we created three pieces dedicated to places and people in Chicago of the 50's. On this record About Us, we’ve invited three important and influential members of Chicago's improvised music community to join in.

I was fortunate enough to perform with David Boykin in his group The Expanse, as well as an improvising trio with bassist Karl Seigfried (later turned quartet with flutist Nicole Mitchell).  David may be the most innovative composer walking the streets of Chicago.  His boundless energy and tone speak directly to the great Chicago tenor legacy.  I'm forever grateful for my musical growth due to being part of his sonic explorations.

Jeb Bishop has established himself as one of the most respected trombonists in the jazz/improvised world.  As one of the most ubiquitous figures on the Chicago scene, his big, punchy tone and instinctive sense of melody sets a high standard for a future generation of improvisers.

Although Jeff Parker is one of the most highly regarded musicians in Chicago, his greatness is more than just his musical prowess (I know that seems impossible). When anyone speaks of Jeff they first refer to his unique sound, which can traverse any terrain and is never mistaken. However, Jeff's true gift is an idea: the idea that you can operate in any genre, place, or setting without being mistaken for anything other than your own “sound.”

I hope that this second of three records takes us closer to the idea of our own “sound.”

M. Reed

In 2005 I was among a new group of musicians that was inducted to the AACM. In the spring of 2008 one of the AACM’s most noted members delivered to the world his long awaited text and “history “ of the AACM. George Lewis’ book, A Power Stronger Than Itself, not only serves to recount, document and analyze the success and struggle of the organization, but also to set forth a gauntlet of challenge for the future of this acclaimed and influential body. Now in it’s fourth decade the organization has once again positioned itself to display the strength, skill and creativeness that is the heart of our engagement in the communal experience of music and spirituality.

I was honored enough to be nominated and then elected Vice Chairperson for the organization. It also marked a historical moment for the organization since three of the five offices elected were filled by women. The total executive committee now consists of:

Nicole Mitchell – Chairperson
Mike Reed – Vice Chairperson
Tomeka Reid – Treasurer
Saalik Ziyad – Secretary
Coco Elyeses – Dean of the School.

We've set forth our goals for the forthcoming year and are hoping to reinvigorate the organization. The first sign of our new regime is This weekend's Nomadic Sound Experiment, a new AACM performance series which I'm heading up. This bi-monthly series will be traveling showcases and feature two performances at each event. The goal is to present concerts in a variety of settings around the Chicago land area (hence the Nomadic title), emphasize original music or concept, partner with arts organizations that will help promote the events and provide production infrastructure, reach out to new audiences (from Highland Park to Tinley Park and then some). 

The first installment will take place this Saturday:

the AACM Presents  
Nomadic Sound Experiment #1:
7pm June 13th, 2009
The Southside Community Art Center
3831 S. Michigan Avenue
Chicago, IL

Set I
DEE ALEXANDER'S EVOLUTION ENSEMBLE
Dee Alexander – vocals
James Sander – violin
Tomeka Reid – cello
Junius Paul – bass

Set II
THE NICOLE  MITCHELL TRIO
Nicole Mitchell – flutes
Tomeka Reid – cello
Jovia Armstrong – percussion

 I got news today that Lorenzo Brower passed away back in March. For anyone that was fortunate enough to have  been at Fred Anderson's original Velvet Lounge Lorenzo was known as one of the old regulars. For much of his later life he was confined to a wheelchair, but it never kept him from hanging out at the Velvet as late and as often as possible. He was nothing less than a vocally opinionated man that didn't pass up a chance to talk up the ladies. He also never seemed to fade in his ability to make himself heard to people on the bandstand, especially when throwing out vocal encouragement ...”ah yeah drummer man, that's it!”

His encouraging vocals (and sometimes accompanying vocals) was a sure sign of a happening set,  Lorenzo's quick exit would be a definite way to find out if things weren't happening. I played the old Velvet many times, but none as memorable as when I'd play there with The David Boykin Expanse. Lorenzo would never let David end a night unless he played his song (“that one tune I like”) Big and Fine. David would always agree, there was no way you could say no because he truly did love it.

People, Places & Things recently recorded Big and Fine with David Boykin. Here's the track, which I'll  dedicate to Lorenzo, RIP. 

Sorry folks,
I've never had to cancel a show before, and am sorry to do so with such late notice. Due to some last minute conflicts our show at the Charleston in Bucktown has been canceled for this Saturday (4/18/09).

I hope to be able to give you a full feature performance in Chicago later this spring.

Over the last two years I’ve performed in Poland on 6 different trips. In just about every instance I have in some way either performed in the town of Wroclaw, or with musicians and artists from there. During my first trip, with Rob Mazurek, I was able to make the acquaintance of trumpeter Artur Majewski and drummer Kuba Suchar. The two had established a long time Chicago influenced quartet called Robotobibok and a newer duo Mikrokolektyw.
Through these two like minded musicians, I (and others Chicagoans) have befriended an association of musicians, artists, photographers and organizers that mirros a spirit of cultural development and community that can be seen in Chicago. Working out of a three story building, the community seems connected under the OPT organization (a multi-genre arts organization).  OPT has been the primary venue that I have performed at when in Wroclaw,  at which they house dedicated recording and filming equipment. In addition the organization hosts varied arts workshops, plays, and rents space to apiring artists. Looking towards the future I’m hoping to be able to play host in Chicago to some of these artists, the duo of Mikrokolektyw is being scheduled to perform in Chicago this coming September.
Check out an mp3 from their forthcoming record here

The hospitality, creativeness, ingenuity of the folks associated with OPT makes it no wonder why returning to Poland is such a pleasure.

Above Photo:
Here are SOME of the friends from Wrocalw from left to right
OPT Organizer Dawid Bargenda, Drummer Kuba Suchar, Trumpeter Artur Majewski, Photographer Bartek Szewczykowski, Vibraphonist Marcin Ciupidro, Sound engineer Michal Kupicz

Thanks to all for your kind thoughts, wishes and concern.

One thing I failed to mention in my last post:
To show some type of gratitude to the the "officer" who helped us out during the riot, the best that we could offer was a copy of our CD. His english was less than "ideal" so we didn't even get his name. Well it turns out that he found us through our label, 482 Music.


He sent his best wishes.

Thank you Petr!

Here's what he posted:

Sorry, but since I'm not the greatest writer below is the best way that I could report on the events of April 3, 2009. You can see a shaky clip that we uploaded to you tube here. This might give you a better sense of what this looked like before things got crazy.

I had been joking to the rest of the guys in the band that today, Saturday April 3, would be a “character builder.” This was mainly because of the long travel day, estimated at 13 hours. The day started out with a 7 am ride from Szehcfahrer to Budapest. We were lucky enough to share a compartment with a nice retired couple from Australia. Part two of the day had us change trains in Breclaw, in The Czech Republic (which we needed to ride to Olomouc). After about 30 minutes the train conductor informed us that we needed to get off at an earlier stop to make the connecting train to our final destination of Krakow. We took his helpful advice, thinking that train schedules do change often, especially in Eastern Europe.
 
We exited the train in the small town of Prevov, CZ finding that we had 2.5 hours until the our connecting train to Krakow. It was decided that we would try to venture into the town and find a nice late lunch and burn some time.  As we walked out of the train station we recognized swat team riot police mounting in front the of the station. Thinking not too much of it we continued out of the station looking at some of the shops and restaurants surrounding the station, however they all seemed to be closed (odd for a Saturday afternoon right?). As we proceeded further we found even more police in full riot gear and finally one stopped us and relayed that a neo-Nazi skinhead rally was happening and that we should go back to the train station.

Of course without haste we hauled our asses back to the station, believing that we would be safe there since the rally would probably be headed to some type of town square or city hall. As we retuned to the station armored vehicles and attack dogs were mounting and our nervousness began to build. We also began to notice an increasing amount of young bald men in black clothingand combat boots circling around the area we were huddled at.  The suspicious behavior was reinforced when we saw one of them coming into “check train schedules” holding a bullhorn.

Not knowing what to do for the next 2 hours we really started to get freaked. That’s when Tim Haldeman went to the front of the station and saw a few hundred skinheads amassed outside of the station and a line of swat team police in front of the station doors.

Of course this didn’t sit well and was even further freakish when finally we heard the sounds of chanting from the street, within minutes we heard loud booms (which turned out to be the sounds of tear gas being fired), within seconds hundreds of skinheads came running around the train station right towards us. The riot police followed them and we were swept up in the madness. The skinheads came prepared throwing bottles and rock, some even had gas masks.  We were caught in a slight moment of in-decision wondering what to do – go towards the police or run from the whole situation. Going towards the police would, out us in the middle of an uncertain situation, so we ran quickly ran with all of our gear and luggage to the farthest part of the train yard trying to find some hiding spot or at least a band of police to stand behind.  Being about 200 meters from where the action was really going down, we knew that if the skinheads spotted us the crowd would start moving towards us.

While standing out there wondering what to do we were approached by a large man who had walked over from a conference he was having with the high ranking police officials who were watching from a distance (it turned out he was part of the police force). Even though his English was poor, he stated the obvious and said we were not safe here.  We followed him across the tracks and behind a wall where the police had set up a small command center. There was also a 2 story narrow building, which seemed to have been an emergency center for the station years ago. He was able to persuade a woman inside the building to let us hide in a small room until the riot ended.  For about two hours we paced and worried about what was going to happen. Would we make our train? Would the mob find us? We were convinced that we needed a police escort to the platform when and if our train arrived. It was beyond unsettling.  Especially for Greg Ward and myself seeing that we’ve been no stranger to racial issues (profiling, comments etc) but this was something different and in the time we had it made us contemplate the struggles of so many before. Of course for us, it is the American civil rights struggle that people seem to think is over since Obama is in office. But, especially in Europe (eastern and western) there are still the remnants of the Jew and gypsy struggles to survive, and in contradiction in the Middle East the Israeli/Palestinian struggle. I could go on and on, but at one point while cowering in a 12x12 room I asked Greg and myself would we have had the courage to march in Selma or even Chicago?

I don’t know if I can be grateful enough to those who did and continue to, but it really made that fact that I exist possible.

Back to the story.

Our friend who was helping us informed us that the riot had died down and that it was time to make it to the platform for out train. He arranged for us to be escorted by 3 swat team officers, however there were still skin head’s hanging in the train station area. Of course being spotted they ran for our platform and boarded the same train as we did.  Even more unfortunately our seats were at the other end of the train from where we were boarding. Having to make our way down the narrow 3-foot corridor with the intention to bribing our way into the first class car we inevitably encountered the racists headed the opposite way. Of course they were searching us out for a confrontation. Greg led the way and since he’s slight and didn’t have much baggage he managed to squeeze by the line of bald Nazis headed towards us, while only being pushed and yelled at. I, however, having my cymbals did not manage to be able to slide through their advancement. Both Jason Roebke and Tim Haldeman were behind me and we were pushed as we tried to make it through and were shoved into a compartment that was occupied by a German family. It was obvious that they were try to egg us on into an altercation, but we deferred and simply got out of their way since they were “trying to pass”
Although we did get shoved and pushed around and at the most a few comments to the effect of

“Go back to your own country!”

The skinheads passed by and we left the compartment to continue hustling to the first class car, however as we moved towards the next car we found it to be locked! Of course we thought this was a set up because right behind us was the group of skinheads coming back for their second run at us. We were for sure this was going to be a showdown. Placing down our luggage we got ready throw down, but right at that moment the train conductor came from the other side fixed the door and let us through. He then proceeded to stop the skinheads from advancing while we were ushered into a reserved car with to polish women.  We quickly closed the curtains and braced ourselves for more harassment. Since we drew the curtains to the compartment our sight lines were only able to see advancing feet. As were heard the chanting and shout of the skinheads at one end of the train we started to hear rumbling footsteps, finally 2 sets of black combat boots were noticed standing outside of our compartment. Suddenly the door flew open and the curtain thrown back….
The biggest sense of relief was felt we saw that the boots belonged to 2 swat team officers, who must have been assigned to the train to keep watch on us. For the next hour we kept our eyes open at each stop watching for skinheads exiting the train as we came closer and closer to crossing the Polish border. We’re not sure if they were kicked off by the Police or if they finally gave in and called it a day, but by the time we got to Poland 1.5 hours later, we finally had the courage to check out the train, which by that time had no signs of ever having been disrupted.


One question still seems to bother us. Why did a skinhead rally stop at the train station? It tunred out that the train we actually got on was going to Warsaw not Krakow. We had to get off in Katowice so that we could get a train finally to Krakow. Was the train conductor who told us to get off in Prevov in on it? Did the mob have pre-knowledge that two black men were going to be comng to the small train station there?

We’ve just played three shows in towns that I’ve never been to before and did not know what to expect. Originally these set of shows were initiated by a request for the band (People, Places & Things) by the presenter David Braun in Maribor, Slovenia. I was flattered by the invite, but it was really out of the way of what we were planning. He thought so highly of the Proliferation record that he took it upon himself to contact other promoters in the region. Hence we were able to play Vienna, Maribor and then Szechvaherar in Hungary.

The excitement was well worth it, Heinz Henning in Austria turned a traditional Viennese beer hall into a packed jazz listening venue. Levente Dudas in Szechavherar, didn’t let us lift a finger to move our own bags and took every opportunity to attend to our needs (and anything we didn’t need). It’s incredibly flattering to have these promoters so excited and proud to have us perform at the venues. It’s a true labor of love and one that’s really appreciated. What’s also shocking is the Fans (yes I said fans) that come out and buy CDs. We had visitors from s far as 200 km and in one week we’ve sold 80 records (people still buy them in Europe!)

In Maribor, David Braun was the ultimate pro, completely attentive and cool. He seems to have similar responsibilities in music programming as I do (working on regular music series of Jazz/Improvised music and organizing festivals and funding). I felt an automatic kinship and understanding of what his day must be like having us come to town while having to juggle 20 different things. Thanks a lot David, we’ll see you next month in
Cerkno!

Pictures:
PP&T with Heinz in Vienna