One of the highlights of last year’s World Music Festival Chicago simply did not get heard by enough people, even with two shows. But that’s OK. One of the roles of the fest has always been to introduce artists to Chicago for the first time, paving the way for a return visit. Fortunately, Chicago didn’t have to wait long for the return of Betsayda Machado y La Parranda El Clavo.
The group is again doing two shows, both presentations of the Extended Play partnership between the Old Town School of Folk Music and Segundo Ruiz Belvis Cultural Center. They’ll be joined at SRBCC on Saturday 3/24 by Chicago’s Bomba con Buya for the center’s annual Abolition of Slavery in Puerto Rico celebration, and the Old Town School will present them Sunday 3/25. The school is offering an Afro-Venezuelan Dance Workshop that Sunday afternoon as well.
All Afro-Latin music shares a common root which is, of course, Africa. The reasons for the considerable variances in sound and rhythm are multiple. First, Africa is a continent, not a country. The kidnapping of African people for the slave trade drew from seven distinct cultural regions over several centuries. Secondly, there were five European powers colonizing the Americas, each with their own customs and traditions. Lastly, you had the influences of whatever indigenous traditions survived the initial colonization, before the slave trade began in earnest.
All of which is to say that, when I first heard the music of Betsayda Machado y La Parranda El Clavo, it was both familiar and different. El Clavo, it should be noted, is a village in Venezuela, not a variation on the clave rhythm that is at the center of Afro-Cuban music. Like the town of San Basilio in neighboring Colombia, El Clavo was founded by escaped slaves. The residents trace their heritage back to what is now Senegal in West Africa. Because of this, you can hear some of the Senegalese sabar style of drumming in La Parranda El Clavo’s music. But you’ll also hear the call and response vocals of Cuban rumba and Puerto Rican bomba, originating in Central Africa. And where sabar almost exclusively uses high pitched drums rapidly hit with sticks as well as hands, La Parranda El Clavo’s rhythms also have a deeper bottom that supplies a pulse.
And then there is Machado herself, who cites Cuba’s Celia Cruz, Colombia’s Totó La Momposina and Cape Verde’s Cesaria Evora as influences on her powerful voice.
I thought I heard similarities to bomba when listening to the group at last year’s World Music Fest. The SRBCC show with Bomba con Buya will put that theory to the test, and I’m hoping the groups will play at least one song together. Regardless of whether or not that happens, I’ll be at both shows again this year, and might even bring my two left feet to the dance workshop.
Betsayda Machado y La Parranda El Clavo Saturday, March 24, 7:30PM, Segundo Ruiz Belvis Cultural Center. Info & tickets…
Sunday, March 25, 7:00PM, Old Town School of Folk Music. Info & tickets…
Afro-Venezuelan Dance Workshop with La Parranda El Clavo
Sunday, March 25, 1:00PM, Old Town School of Folk Music. Info & tickets…
There’s little chance that, on encountering him for the first time, you would mistakenly guess that Omar Sosa is anything other than Cuban. Dressed in white, he’s a practicing santero whose personal Orisha is Obatala, the deity of purity, wisdom and the light of consciousness. He often begins his performances with a lighted candle which he then extinguishes, wafting the dissipating smoke over his piano as something of a blessing to the instrument. In the santería faith, music and ceremony are one.
Yet Sosa is very much a global citizen. Though born in Camaguey, Cuba in 1965, he’s lived abroad since 1993, first in South America, then the San Francisco Bay area (where he established himself as a major force on the local Latin jazz scene) and now Barcelona, Spain. More than that, though, he tours and records around the world almost without pause, releasing albums at an astonishing rate of almost two a year, ranging from solo piano to big band sessions.
Transparent Water, his collaboration with Senegalese musician Seckou Keita that he’ll bring to the Old Town School of Folk Music on March 15, isn’t even his newest album. That would be Es:sensual, recorded with Germany’s NDR Bigband and arranged by the legendary Brazilian producer Jaques Morelenbaum. Both albums are the product of Sosa’s globetrotting ways and ceaseless artistic curiosity, as is yet another already recorded album that will be released this September. (More on that below.)
Fortunately for Chicago, Sosa has found time in his schedule to put together a tour for Transparent Water with kora player Keita and a frequent collaborator, Venezuelan percussionist Gustavo Ovalle. As you might imagine from the title, Transparent Water is a meditative invocation of the flowing of the human spirit, and the Old Town School’s flawless acoustics and reverent audiences are a perfect match. (It was at OTS where I first heard Omar Sosa live almost 15 years ago, and that indelible performance remains my favorite.)
I reached out to Omar Sosa with a few questions about the album and the creative spirit that brought it into existence.
DM: The last time you visited Chicago, it was on the heels of your album ilé with your Quarteto AfroCubano. And while that album was billed as a “homecoming” because it celebrated your Cuban roots, it was anything but inward looking or strictly bound to Cuba. Now, with Transparent Water, you are directly engaging with Africa in the form of kora player Seckou Keita and extending that to Japan by utilizing the koto and China with the sheng and bawu. What are you looking for in these sounds and collaborations?
OS: I first heard and played with Seckou Keita in London in March 2012, when I was invited by drummer Marque Gilmore to a special show he was producing called Exhibiton of Sound. I was completely captivated by Seckou’s kora playing – it’s propulsive but gentle rhythmic qualities, its sophisticated but accessible melodic and harmonic elements. I felt a really good chemistry with Seckou that night, so I was inspired to invite him to join me for a recording project. About a year later, we gathered at a studio in Osnabrück, Germany and shared song ideas and co-created and prepared the music we recorded that same week.
Just prior to meeting Seckou in Germany, I had been invited to participate in a multi-artist residency in Santiago de Compostela, Spain, curated by Spanish bagpipe player Christina Pato. One of the musicians there was Wu Tong from Beijing, who plays a traditional flute-like instrument from China called the sheng. Again, I was captivated, and the extraordinary bending sounds of the sheng stayed in my head and I started hearing them mix with the recordings that Seckou and I made.
As fortune would have it, I was invited to a festival in Shanghai in September of 2013 with my Quarteto AfroCubano, and was able to arrange to travel to Beijing after the show and visit with Wu Tong in his home studio and record tracks that we used in the mixing of the basic tracks with Seckou, and Wu Tong and I recorded a few new pieces as well.
At some point during this process, I saw a show in Paris of the Vietnamese guitarist, Nguyen Le, who has long been a hero of mine. In his ensemble was Mieko Miyazaki, the koto player from Japan, and yet again, I was captivated by her sound and expressiveness. As I was planning to mix the Transparent Water tracks in Paris with my producer friend, Steve Argüelles, I was able to invite Mieko to come to Steve’s studio and contribute a few parts to the project.
So, to a large extent, I do not have a fully formed conception or vision of a musical project mapped out in advance. I am open and susceptible to incorporating sounds into the creative process that I hear along the way. It’s a matter of being flexible and curious about how various sounds can combine.
DM: Similarly, you’ve gone back to Venezuelan percussionist Gustavo Ovalles multiple times. What is it about his playing that works with your approach to music?
OS: Gustavo’s exceptional musical sensitivity playing the folkloric percussion instruments from his homeland and the closeness of those instruments to their roots in Africa has always attracted me greatly. He is a master with the maracas, and quitiplas, and culo’e puya. And he’s such a swinging ensemble player, always listening carefully, and never trying to overplay, which can happen with drummers. Gustavo will also be joining me on the touring portion of an upcoming project with Cuban violinist / vocalist, Yilian Cañizares, who lives in Switzerland. Yilian and I have recorded a CD called Aguas which will be released in September this year.
DM: You’ve put out close to 30 albums is a little over 20 years. Why are you so prolific? Is there a common theme that runs through all of your projects?
OS: There is so much amazing music on the planet, and everywhere I go (upward of 100 shows on five continents a year) I’m inspired by the new sounds and new instruments I encounter, often in traditional and folkloric contexts. So many of these sounds inspire me to want to create new music! So there really isn’t a common theme involved, except the expression of my own musical roots in the ritual melodic and rhythmic elements of African music that came to Cuba on the slave ships.
Omar Sosa & Seckou Keita, Transparent Water | Old Town School of Folk Music, Thursday, March 15. Tickets at oldtownschool.org.
For the last couple of decades, musicians from Chicago have placed the city squarely on the national musical map with their community based, multi-discipline artistic approach. It is perhaps most evident in hip-hop, where Chance the Rapper and Jamila Woods continue a legacy established by Common, Rhymefest and Kanye West.
Meanwhile, a parallel Latin scene has slowly developed, and the fruits of many years efforts are starting to pay off. Dos Santos Anti-Beat Orquesta broke first in 2013 with their aggressive cumbia/chicha sound and thoughtful sociopolitical manifesto, making a strong case for the groove as an agent of social change. Their sound has since evolved to more of a pan-Latin rock reflective of its member’s Mexican, Panamanian, Puerto Rican and Texan backgrounds.
Now, ¡ESSO! Afrojam Funkbeat, who have been on the scene for almost as long, are making their move. They scored a SXSW gig earlier this year, then followed it up by opening for the legendary Café Tacvba at Taste of Chicago this summer. Now they have released their second album, Juntos, and are in the midst of an eighteen-date national tour.
ESSO might just be the band the country needs in these dark days of the Trump presidency. Like Dos Santos, the diversity of the band’s members contributes to its sound and message, with Mexican, Puerto Rican, Irish, Italian, Jewish, Colombian and African American backgrounds. The group also has two female members, adding another important perspective to the mix. A diverse cast of guest musicians, MCs and DJs further fills out the sound of Juntos.
Between them, they’ve been raised on everything: Afro-Caribbean folkloric music to be sure, but also R&B, house, funk, hip-hop, jazz and a healthy dose of DJ dance floor beats. All of this comes to bear in their music. Songs are supported by lively and intricate polyrhythmic percussion and there are flashes of electric guitar, but most tracks exude a gently insistent groove reminiscent of the down-tempo global excursions of groups like Thievery Corporation. The rhymes come out of the conscious rap movement of poetic persuasion, not nihilistic despair. The horn arrangements are jazzy.
That’s not to say that this is some kind of easy listening music. The music is built for the dance floor, not the VIP lounge. Electronic beats and squiggles help that along, but the overall sound is organic, and underneath the smooth exterior are real roots and genuine commitment. Lyrically, songs address the contradictions of urban life faced by immigrant communities, but also love and the virtues of coming together to face them. There’s real fire to this music, albeit with an incandescence that smolders rather than blazes. It pulls you to the dance floor, not pushes.
ESSO reaches back beyond the Caribbean to Africa and skillfully blends those motherland elements into its rhythmic sancocho. Fela’s Afrobeat can be felt in some songs, but so does the jùjú music of that other giant of Nigerian music, King Sunny Ade, as well as the loping guitars of Ghanaian highlife.
Playing spot the influence is a lot of fun with this album, but each of them are smoothly integrated into a band sound that is uniquely theirs. I have a few favorite tracks, and you’ll no doubt have yours, but this collection of 13 songs is best consumed whole from beginning to end, like a good meal among friends.
If you live in Chicago and experience live Latin and world music on a regular basis, chances are you know, or at least have seen, Mateo Mulcahy. If you recognize the name, it’s because you know he’s the guy who brings all the cool world music to the Old Town School of Folk Music, located in the city’s north side Lincoln Square neighborhood.
Unlike a commercial talent booker or promoter, though, Mulcahy has a broader mission. The Old Town School is a non-for-profit organization, and Mulcahy is its Director of Community Projects and Events. He’s leading a new initiative called Extended Play that launches on February 1 in partnership with institutions in two other parts of the city; The DuSable Museum of African American History on the south side in Hyde Park and Segundo Ruiz Belvis Cultural Center in Hermosa on the west side.
Mateo Mulcahy was born in Chicago. He has both Mexico and Ireland in his heritage and grew up in a bilingual household. He spent several years in St. Louis leading a salsa band, hosting a radio show, promoting live Latin and world music and even owning a nightclub. These various capacities allowed him to make connections with that city’s various ethnic communities and continually expand his network. At times he reproduced shows in St. Louis that originated at the Old Town School’s La Peña series. Upon returning to Chicago in 2006, he was hired by the School to take over La Peña, but his background of working with many diverse communities led to him also programming the School’s Afro-Folk series and being assigned the broader task of connecting the School to communities beyond its immediate geographical area and to create more diversity at the school itself.
“We (the Old Town School) pull almost exclusively from a 20 block radius of the building,” Mulcahy tells me over coffee in the school’s main performance hall. “but we always have had an interest in expanding our reach into the south and west sides. Early on I took Afro-Folk out to the South Shore Cultural Center and we hoped to extend classes out there as well.” That effort ran out of funding pretty quickly, and Mulcahy has been searching for a way ever since to do something similar.
The Old Town School’s reputation beyond Chicago is highly regarded. “I can’t tell you how many artists that I work with say that they wish their cities had something like the Old Town School. New York City, London, Memphis, it doesn’t matter,” says Mulcahy. “There might be programs there that do something similar, but their focus is usually narrower, aimed at a particular community. The Old Town School’s mission tries to reach out to all of Chicago’s communities. We are the largest community arts school in the country.”
Even so, Mulcahy recognizes that there is unequal distribution of arts activity and education in Chicago. “There’s our 20 block radius, but virtually 90% of the city’s arts organizations are either downtown or on the north side like us. Vast parts of the city get very little.”
Cooperation between the Old Town School and community partners is crucial. A recently created 2 person engagement department has made these citywide partnerships more feasible. Last year’s 77 Beats program sought to celebrate the music and food of Chicago’s 77 distinct neighborhoods by producing over 45 events throughout the city in everything from cultural centers to parks and festivals, often utilizing the resources and talent in those neighborhoods.
Extended Play, which will bring Afro-Latin artists to Chicago this year, is a further step in that direction. As its name implies, the series extends the School’s long-running World Music Wednesday to three days and two additional venues. “We need to partner with organizations in other parts of the city and not keep everything to ourselves over there,” he says, gesturing toward the darkened stage. “Correspondingly, it is a benefit for the artists who come a long way to perform in Chicago to get the opportunity to play more than once.” Like 77 Beats, Extended Play is funded by the Chicago Community Trust, who have in recent years begun to focus more on the city’s under served neighborhoods.
The partner organization’s missions are crucial to the programming decisions as well. Artists are selected in close consultation with partner venues to ensure that they reflect the programming objectives and mission of all institutions. In the case of this year’s launch of Extended Play, the thread that connects the DuSable Museum and Segundo Ruiz Belvis is the African Diaspora. The initial artists that will perform include El Tuyero Ilustrado, who play joropo music from Venezuela, and Colombia’s Herencia de Timbiquí. Artists perform for three consecutive days. In keeping with outreach goals, all concerts are free to the public.
“I can’t tell you how pleased I am that I was able to get artists of this high caliber to launch this series,” Mulcahy says with a big smile. “Herencia de Timbiquí are superstars in Colombia, and El Tuyero Ilustrado are truly at the forefront of the joropo tuyero movement.”
Like a lot of Chicagoans, I first heard Herencia de Timbiquí at last year’s World Music Festival, and their show at Pritzker Pavilion was one of my personal fest high points. The 10-man ensemble mines a rich vein of traditional rhythms and instruments from Colombia’s Afro-Pacific region while modernizing it just enough to not sound like an anthropology lesson. They will be here in April.
El Tuyero Ilustrado, who kick off the series this Wednesday, are making their first appearance in Chicago. The duo consists of cuatro virtuoso Edward Ramírez and composer/singer/maraca player Rafa Pino. The project combines the joropo from the central region of Venezuela with original songwriting and uses the cuatro as a main instrument, rather than the more traditional arpa llanero.
Mulcahy discovered them at a music conference in Caracas and was totally blown away. “Venezuela has an incredibly diverse and rich musical offering,” says Mulcahy, “but joropo is the national music and the cuatro is definitely the national instrument. However, if you are going to replace a harp which has dozens of strings with a cuatro that has 4, it better be one incredible cuatro player. Edward Ramírez is at that level.”
Mulcahy and I end our conversation talking about Chicago’s world music community. “I’ve worked in other markets,” he says, “and I’m very happy to report that, in Chicago, the people who work on the cultural side of Latin and world music all get along and collaborate. It’s not a given that it works like that in other places. And working together enables us to get great artists to come to Chicago that individually we couldn’t afford.”
Extended Play works much the same way. It would simply not be possible to get El Tuyero Ilustrado or Herencia de Timbiquí to come all the way to Chicago for a single audience of a few hundred people. That makes us a very lucky city indeed.
Extended Play: El Tuyero Ilustrado
Old Town School of Folk Music, Wednesday February 1 at 8:30pm. oldtownschool.org
DuSable Museum of African American History, Thursday February 2 at 7pm. dusablemuseum.org
Segundo Ruiz Belvis Cultural Center, Friday February 3 at 7:30pm. segundoruizbelvis.org
Extended Play: Herencia de Timbiquí
Old Town School of Folk Music, Wednesday April 19 at 8:30pm
Segundo Ruiz Belvis Cultural Center, Thursday April 20 at 7:30pm
DuSable Museum of African American History, Friday April 21 at 7pm
“My experience totally comes from the folkloric tradition. My grandparents on both sides were musicians. My dad’s family is from Cape Verde off the coast of Senegal while my mom is Puerto Rican. I grew up in that environment so I was listening to and playing traditional Cuban, Puerto Rican and African music at an early age.”
I’m speaking with San Francisco Bay area percussionist, band leader and educator John Santos via phone from Washington, DC, where he is making several appearances in connection with the Smithsonian Institute’s Folklife Festival. From there he’ll travel to Chicago for two Latin Jazz Festival appearances this week: A lecture and demonstration entitled My Music is Who I Am at Segundo Ruiz Belvis Cultural Center and leading the John Santos Sextet at the Humboldt Park Boathouse. Both events are presented by the Jazz Institute of Chicago.
Santos had led several bands over the course of his four-decade career. The best known of them was the Machete Ensemble, which lasted for 21 years but dissolved in 2006. That’s the group I caught at HotHouse, the South Loop venue that closed its physical doors several years ago but continues as a still vital organization with programming in various locations around the city. As it turns out, that’s the last time Santos played in Chicago until now.
“The economics of that group were really difficult,” says Santos. “It varied from 12-14 members, and a group of that size is very hard to take on the road. It was hard to get decent paying work for that many musicians. I downsized to 9 members, but even that was hard to support.”
After Machete Ensemble broke up, Santos started a quartet, which has gradually built up to the sextet that will visit Chicago this week. Besides being a top-shelf performing Latin jazz ensemble, they specialize in educational presentations from lecture/demonstrations to detailed clinics focusing on any number of relevant subjects such as composition, arrangement, rhythmic development, stylistic interpretation, studio performance, etc. Their repertoire consists of arrangements from Cuba, Puerto Rico, and the US, as well as original compositions.
The conversation turns back to the importance of tradition in Santos’ music. “After my experiences playing with my family and during my development as a professional musician, I studied all sorts of African influenced music. As a percussionist, I was drawn to the conga and batá drums, and from there to Congolese and Nigerian music. I started collecting instruments and vintage recordings. That folk tradition became a driving force in my career.”
Santos continues, “Those folkloric traditions form the basis of what I do, but then we apply that to original music using contemporary jazz harmonies and themes that talk about experiences that are relevant to what we’re living through.”
With that, our conversation moves to Santos’ educational efforts and programs, one of which he is presenting this week in Chicago. “Workshops, lectures and classes are nearly half of what I do, with performing and composing being the other half,” he notes. “I took the title My Music is Who I Am from a dissertation by the great Latin jazz bassist Andy Gonzáles. That title really resonated with me, so I created this presentation that talks about Afro-Latinos like myself and the way music is intertwined with our identity, history and culture. The music is an almost sacred document that tells our story in our own voices and the voices of our ancestors.” He continues, “I’ll be using a lot of historical recordings from my collection to illustrate certain themes of who we are, in our own words, and I’ll show how those same themes are relevant to our lives today. It will show how connected we are to these older traditions, but at the same time have contemporary examples that play the same role.”
It is mid-afternoon, and Santos still has one more Smithsonian Folklife panel to attend. As we are saying our goodbyes, Santos remarks, “I’m really looking forward to coming back to Chicago. I’ve done events before with Segundo Ruiz Belvis Cultural Center at the old location. I’m honored to be presenting there again and of course I’m excited to be performing at the Latin Jazz Festival. It will be great to see old friends and make some new ones.”
My Music is Who I Am, Thursday, July 14, 7:00pm at Segundo Ruiz Belvis Cultural Center, 4048 W. Armitage, Chicago. Free admission, but registration is requested. srbcc.org
10th Annual Chicago Latin Jazz Festival, Friday-Saturday July 15-16 at the Humboldt Park Boathouse. 1301 N. Sacramento, Chicago. John Santos headlines Friday at 9:00pm. Free admission. jazzinchicago.org
Chicagoans are a hardy bunch. We suffer through what seems like endless winters because we know one thing: Summer music in Chicago is awesome! Nearly every weekend has one neighborhood festival or another. There’s the city-owned world class concert venue Pritzker Pavilion downtown, but in recent years the neighborhood parks have stepped up big time too. Besides all the free stuff, there are also a few privately run festivals where the music to dollar ratio is especially high.
There’s something for everyone, but we have a mission here at Agúzate that keeps us focused on places where the Afro-Latin quotient is high. Here then, is our guide to where we want to be this summer.
Of course, you’re invited too!
The 606 Block Party, June 4: We start in the ‘hood, or more accurately, the four neighborhoods that Chicago’s urban trail park runs through: Bucktown, Wicker Park, Logan Square and Humboldt Park. They are celebrating their first anniversary by throwing a huge party, and the Latino flavor of the trail’s western half leads to some pretty good music. Humboldt Boulevard between Cortland and Wabansia is where you’ll find salsa orchestra Luis Palermo and the Brasa All-Stars, the Latin ska of Los Vicios de Papá, and Bomba conBuya with special guest bomba maestroLeró Martinez. More action can be found in the smaller parks along the trail, including rumba Cubana from Iré Elese Abure, booming Brazilian samba from Bloco Maximo, Tango & folkloric music by bandoneón player Richard Scofano and even more bomba and plena with Leró Martinez, Jerry Ferrao, Arawak’Opia and saxophonist Roy McGrath.
Night Out in the Parks, various dates: Speaking of Roy McGrath, we’ve been following his Julia al Son de Jazz project ever since he premiered it at The 606 last year. McGrath reports that it is still growing and refining, and the public will get three more chances to check in on its progress in three spots around the city: June 24 at Fred Anderson Park in the South Loop, July 29 at Riis Park and August 26 at Gage Park. More 606 celebrants return as well, including Bomba con BuyaJuly 25 in Blackhawk Park and Iré Elese AbureAugust 27 at Julia de Burgos Park. Miramar, whose new album is a tribute to Puerto Rican songwriter Sylvia Rexach, performs June 24 in Hermosa Park. Finally, AfriCaribe brings the bomba y plena to three spots as well, June 23 in Churchill Park, July 11 in Wicker Park and August 10 in Foster Park.
Millennium Park Summer Music Series, various dates: There are many reasons to spend a summer evening here, but for us, none are more essential than the Eddie Palmieri Salsa Orchestra on June 27. Opening for El Maestro is Afro-Colombian folkloric ensemble Ecos del Pacifico. Other promising shows include Brazilian singer-songwriter Rodrigo Amarante (you might recognize him from his haunting theme to Netflix’s Narcos) on June 13, Afrobeat heir Femi Kuti and Positive Force on July 11, Congolese band Mbongwana Star with local favorites Dos Santos Antibeat Orquesta on August 11 and, making up for last year’s State Department visa meltdown, highlife legend King Sunny Ade on July 18. UPDATE: Puerto Rican singer Ileana Cabra Joglar, better known as iLe, has been added on July 14.
Square Roots Festival, July 8-10: The street fest version of its predecessor, the glorious Folk & Roots Festival, may never quite hit those heights of communal bliss, but the venerable Old Town School continues to bring in excellent music, and this year is no exception. We’ll be checking out roots reggae from Taj Weekes, the Ethiopian pop of Debo Band and the classic New York Latin sound of Los Hacheros.
Chicago SummerDance, various dates: A tradition going on 20 years, this globally generous three month dance party on Chicago’s front lawn will present several local and international artists, including Angel Melendez & the 911 Mambo Orchestra, Ricardo Lemvo and Makina Loca, Los Hacheros, Ola Fresca and Carpacho y Su Super Combo.
Chicago Latin Jazz Festival, July 15-16: Make sure your Uber account is in good standing, ‘cause you’re going to need it this weekend! We’ll start off Friday night with a festival that, without fail, presents the absolute best in Latin Jazz. And though we don’t yet know what they are planning for this year, it’s a sure bet that you’ll want to see some of it. UPDATE: Legendary San Francisco percussionist and bandleader John Santos has been announced as the Friday night headliner. Juan Pastor’s Chinchano opens.
El Gran Festival Colombiano, July 16-17: Back for its second year, they are working hard to build on last summer’s great lineup with 79 year old cumbia legend Anibal Velasquez, champeta master Charles King, salsa dura from Pibo Márquez’ Salsa Caribbean All Stars, Lucho Morales y Su Fiesta Vallenato, Afro-Colombian rising stars Explosión Negra and the old school salsa orchestra Sonora Carruseles. On the DJ side you’ll find Geko Jones from the Que Bajo?! collective and festival organizer Jorge Ortega himself spinning classic vinyl.
Celebrate Clark Street, July 16-17: Back for its eleventh year, the music at this humble and slightly gritty festival (I can say that ‘cause it’s in my neighborhood) always turns it into something of a mini-World Music Fest. This year is no exception. We’re especially excited about Palenke SoulTribe, Sierra Leone Refugee All-Stars and the El Freaky collective.
Evanston Ethnic Arts Festival, July 16-17: Uber goes to the suburbs, right? It is, as they say, cooler by the lake, and you can’t get any closer than at this summertime favorite. This year, check out the Cuban-Arabic-Flamenco-Gypsy Swing of Sultans of String, the Chicago Afrobeat Project, and the hard hitting Johnny Blas Afro Libre Orchestra.
Festival Cubano, August 12-14: No lineup has yet been made public, but in the past they have showcased such giants as Willy Chirino, El Gran Combo de Puerto Rico and Alfredo de la Fe. Last year brought the first visits of Cubans directly from the island, and there’s no reason to think that will stop now. UPDATE: Reunited hip-hop trio Orishas plus Albita and La India have been announced as headliners.
Chicago Jazz Festival, September 1-4: There are few better ways to end your summer than by immersing yourself in jazz at this 38 year old tradition. The Big Papi of jazz fests promises something for everyone, but we are especially excited about two performances: The experimental Afro-Latin collective James Sanders’ Proyecto Libre on Friday and the closing night concert, a Latin Jazz All Stars 95th birthday tribute to legendary Cuban congueroCandido Camero with Candido himself.
You have to come indoors sometime, and the early part of the summer provides a few excellent opportunities to do just that, including:
Venezuela by way of New York hedonists Los Amigos Invisibles hit Bottom Lounge June 9.
Darwin Noguera & Victor Garcia’s CALJE(June 10) and Colombian/New York band leader Gregorio Uribe(June 12), both at Sabor a Café Steakhouse.
Cuban pianist Alfredo Rodriguez Trio at the Jazz ShowcaseJune 16-19.
Triple Threat! Dos Santos Antibeat Orquesta with funk/soul/reggae band Fatbook and global jazz beatmaster Makaya McCraven at Martyrs June 17.