Yes, Happiness Is… The Peanuts! No doubt. As a kid, I read every Peanuts comic I could. I learned at a very early age that there is a little bit of all the classic characters in every one of us. This musical is fairly early in the history of character development for the creator, Charles Schultz. The story revolves around six Peanuts characters in ‘You’re a Good Man, Charlie Brown’.

First up to bat is also the manager of the little league team - the title character Charlie Brown. Charlie is good kid, but his own inferiority complex often gets in his way. Neil Stratman does an above average job of becoming Charlie Brown. He was a good fit for the role and really brought the character to life in a memorable way.

When it comes to casting for this production, there are a lot of good fits and Sierra White as Lucy Van Pelt is excellent. She captured Lucy’s cynical, crabby persona. The Psychiatrist bit never gets old and still cracks me up. And when you think about it, the discourse between characters offers some intelligent language coming from eight-year-olds back in the day. The dialogue was right where Schultz left it, too. As a Snoopy aficionado I appreciated that.

Lucy had a fondness for music? Well, maybe but she does chase after Beethoven’s greatest fan. Schroeder is played by Jimmy Hogan and provides more of classic Peanuts material we’ve all come to love over the years. Hogan gives us a nice portrayal as the boy too busy playing the piano to notice Miss Van Pelt.

As comic strip fans know, Lucy has a younger brother named Linus. Marcellus Burt plays the role, though as a huge Peanuts fan, I feel Linus Van Pelt's personality comes across a bit differently than what us old schoolers might be used - and that would be directed to the play’s script more so than anything else, though Burt nails the role he is given and is a pleasure to watch. Every member of the cast does a superb job of becoming the characters they represent and capture the main essence of each. Last night I saw a brat. Lucy was the crabby Van Pelt. Linus was a cool cat. The thumb sucking and security blanket might fool some at first from how smart this young man really is at that age. Yep, Linus is hip and completely, utterly Zen.

Linus has a big fan, too – someone who recognizes his genius and also happens to be Charlie Brown’s little sister, Sally. Alley Ellis is pretty spot on in the role. She seemed more like a teenager at times instead of an eight-year-old but some of that is the material. Shultz wrote dialogue that was very atypical for eight-year-olds.

Finally, man’s best friend. Snoopy is by far the coolest comic strip character ever. Okay, that’s just my biased opinion but who else holds a candle to a dog that can both sleep on top of his doghouse and magically transform it into a Sopwith Camel? Tuesdai B. Perri plays America’s favorite beagle. She seems to have fun with the role and captures the sarcasm that is Snoopy.

I really enjoyed myself while taking in this wonderful production that takes us on a much different Peanuts adventure. The humor holds up and still cracks me up. All the jokes I remember from reading the comic strip and books as a kid still draw laughter. This is a toe-tapping, catchy musical production with book, music and lyrics by Clark Gesner that includes solid vocal performances all around. I was very impressed and recommend ‘You’re a Good Man, Charlie Brown’ for a pleasant night of family entertainment that will have you leaving with a big smile. Hats off to director Joe Lehman, as well. The night was thoroughly enjoyable and should be on your list for holiday fun.

‘You’re a Good Man, Charlie Brown’ is currently being performed at the Citadel Theatre in Lake Forest, Illinois and will be running through December 23^rd. For tickets and/or more show information, visit Citadel Theatre.

I heard about Forq, watched a video and decided to go. It was a Friday night and Martyr’s is always an interesting place. It has some of the vibe of the old Rock Clubs but you can bring a date there. This however was Jazz Fusion night, not the 1970’s version exactly.

Spare Parts is a Chicago band. After a look at their website, they describe themselves as a Funk band. This category thing is tricky. One thing the listener will find is that there is indeed Jazz fused into the Funk of Spare Parts.

This is a trio that is keys, bass and drums. Kevin Kozol is on keyboards. That’s where the 70’s funk sounds are really strong with this band. He had two vintage keyboards. It looked like a Wurlitzer ala Ray Charles in the Blues Brothers and something that had that old clavinet sound at times. Run a delay pedal and the sounds were very reminiscent of early Pink Floyd. Kozol has chops, no doubt. There were some nice chord voicings and soloing flowing through the sound system at Martryr’s. How ‘bout that rhythm section? Colin Scott on bass and Mike Bruno on drums. They were solid, funky and more than a good compliment to the keys. Scott’s approach was somewhat unique. He used a variety of effects and techniques to fill ups space without a guitar player. They had a sax player sit in on one song. A melody instrument might be a nice addition to the lineup.

Forq is a band that also seem to be somewhat led by the keyboards but this time, there is guitar added to the mix. Henry Hey is on keys. He sets up right in front with a small keyboard rack. It looked like he had one regular, utility board and one hooked up to a lap top. If Keith Emerson were starting out today, he could use a lap top instead of the giant Moog, but the visuals wouldn’t be the same. The concept is exactly the same. The role of mad scientist takes shape in Hey the same way as it did with Emerson.

Chris McQueen sits in the guitar seat. Chris is a former member of Snarky Puppy. He played a Fender guitar with Gibson style pickups through a Supro if you are a guitar geek keeping score. Pedals and gadgets were tastefully used. He got a great tone and played some tasty stuff. McQueen even snuck a little slide in there in one song.

If you left the other players out, the rhythm sections could have competed for the most solid. Jason “JT” Thomas is a pocket owning drummer. He and bassist Kevin Scott built a very strong foundation for Hey and McQueen. These guys were tight.

Here’s an observation for both bands. You can often say too much in the first song. I would say the same thing to a lot of Jazz influenced bands. Chops are impressive, but in both bands there could have been more melody. I am not claiming to be familiar with either band’s specific music. I just know what I like to hear. Even though I love improvisation and jamming, I am a sucker for a good melody. That’s the song really. It was there but a little more would be nice.

Rhythm is an essential part of life. We wouldn’t exist without it. It all starts with your heart beat. That is the origin of rhythm really. And Djembe! The Show at Apollo Theater is all about the rhythm – and it’s informative. I really enjoyed learning how the djembe was used throughout musical history.

Djembe! was almost like a workshop at times. Drums are located at each audience member’s seat. The show was emceed by Ben Hope. Hope, along with the rest of the ensemble, taught the audience about the rich history djembe drumming. I didn’t realize this was actually a touring road show until yesterday. I can just imagine packing all those drums away after every show! Hopefully, Djembe! sticks around for a while because it is truly worthy of a long run.

The band in this show was fantastic. Fode Lavia Camara was the Djembe Fola, or “master”. He led the drumming for the most part although all were involved. The band was rounded out with bass guitar, keys and drums. All were musicians are very talented players.

Rashada Dawan handled most of the lead vocals. She wore a variety of costumes to illustrate the influence of djembe rhythms through musical history. Her voice was amazing. She also helped emcee the show.

When it all is said and done, we learn that a lot of the rhythm we take for granted in music is African in origin. It is interesting to see the influence of these rhythms on everything from Pop to Classical Music. This was all about the Djembe, but it translates to other instruments and even voices, and a show like this is great mind food for musicians. Us musicians need to constantly feed our minds with information. But it is the entertainment value in Djembe! that makes it fun!

This is a show one could see again and again. In fact, I am tempted to take a friend there who I know would really like it. You would too. Nothing makes you feel better than beating a drum. Bring a friend. Make a friend. It’s a celebration of life. This would be a great show to take your kids along. It’s a lot of fun.

Djembe! The Show is currently being performed at Apollo Theater.

For more information on this unique experience, visit www.djembetheshow.com.

This was an interesting production that oddly enough had very little to do with radio. ‘Radio Culture’ is a one act play with a somewhat unique concept where just one actor holds a speaking role.

TUTA’s home theatre space (4670 N Manor in Chicago) is a small little place that makes you feel at home upon entering. I grew up in that neighborhood and the idea of having a small theatre in that area never even crossed my mind. I give a lot of credit to the people putting on these smaller productions since there isn’t very much money coming in outside of donations that are crucial in keeping the theatre going. You gotta really love what you are doing when you work with small, or storefront, theatres.

The setting takes us to a Russian construction site. The small audience is literally in a room under construction. This is a plus as we get a true intimate theatre experience that is about as up close and personal as you can get.

Kevin V. Smith plays Volodya who lives in Minsk with his parents. He acts more as narrator to the events, speaking in the third person. The whole play basically takes place in a day in the life of the Russian construction foreman who finds comfort in the classical music he listens to as the program Radio Culture is pushed across the airwaves. Natalie Ferdova does an impressive job in translating this story from Russian to English while Amber Robinson gets a nod for some very creative direction. Huy Nguyen and Wain Parham complete the ensemble with non-speaking roles.

This is one of those ideas that probably wouldn’t work as well on the big stage since the intimacy of the production is one of the attributes that makes this play so special, though the story is engaging and peaks one’s interest throughout. At times, the actors were right in front of you making eye contact, as if they were in your own living room.

The visuals don’t exactly make or break the performance but get the point across while the dialog was written in such a way that it was very easy to follow. I really want to give a shout out to Smith for his ability to flawlessly rip out 70 minutes of very convincing dialogue. A true professional, there was never a hesitation in his delivery and he truly keeps your attention through the entire play.

I would without hesitation recommend going to see ‘Radio Culture’ at TUTA.

‘Radio Culture’ is being performed at TUTA Theatre through December 2nd. For tickets and/or more information visit www.tutatheatre.org.

*Extended through March 3rd

Arlington Heights has a new music venue, Hey Nonny, and it is located at 10 S. Vail right in the heart of a hopping downtown area that has been bustling with excitement over the past few years. Unlike difficult parking scenarios that you might find at Chicago venues, a parking garage is conveniently located about a half block down from the front door. Last week the new music club held their grand opening with only club members and press attending. An impressive venue with all the bells and whistles would be an understatement.

Club owner, Chip Brooks, was making the rounds introducing himself to everyone. The entire staff was helpful and friendly, and the place had a good vibe to it. A nice buffet was offered to the guests, which I believe were all essentially samples of what will appear on the menu. And having said that, the food was delicious, the chef also making his way out to make sure everything was going well and that his culinary creations were being enjoyed.

The night’s entertainment was Eric Lindell and his band, which proved to be the perfect choice for the club’s opening night. Sitting in on guitar was Anson Funderburgh who is currently in town playing shows at Fitzgerald’s and SPACE. Lindell and friends put forth a solid straight-ahead blend of roots influences. They took a little blues, some rock and country and rolled it into one fun-filled performance. At times they reminded me of the early 70’s version of the Grateful Dead. Fender guitars sautéed in reverb was the flavor of the night.

All in all, it was a great introduction to a new venue. I looked at the upcoming line up and it sure looked good. You can check out the upcoming performers by clicking here. The ambiance, stage, sound and kitchen all receive high praise. No doubt about it - Hey Nonny is going to be a fantastic place to see some great music. If I had to nitpick about anything at all I would request that they consider easier return access from the restrooms. To use the washroom, one leaves the suite that the club is in and returns to a locked door. Meaning, I had to go back outside and re-enter through the front door. There might need to be a better system involved at some point. A bit inconvenient, but not at all a deal breaker. The venue is top-notch and the owner really put a lot of thought into the place to provide a unique concert and dining experience.

Hey Nonny is in a great location, the food is excellent, and the music line up looks promising. I thought the acoustics in the room was very good, which is a must for any venue that offers live music. And the sound wasn’t overpowering, so friends could talk to each other while the music was playing without shouting back and forth, which is nice. Live club sound engineers have a tendency to peel the paint off the walls, which is unpleasant at times. Not the case here.

If you are in the area and looking for a night out with some good music and yummy food, keep an eye on the music schedule at Hey Nonny. 

I’m going to admit, this was not exactly what I expected. I heard flamenco and, me being a guitarist and passionate for the instrument, I thought…hmmm…Flamenco guitar music. That fact that the show would feature the degree of dancing it did never even occurred to me. So, I got the best of both worlds. There were guitars playing in the very impressive musical outfit, accompanying by dancing that was nothing short of spectacular. Two singers and percussion were also included in the act. Like I said, this show had everything.

Eduardo Guerrero was the lead dancer and was exciting to watch, each move as graceful as the last with just the right amount of aggression when needed. Six dancers performed different variations of Flamenco dancing throughout the presentation so we as the audience were treated to a true cultural experience to remember. Everything about the show was amazing.

One of the things that draws me to Latin Music is the rhythm. You can’t escape it. I looked up the word flamenco and found it comes from the word Flemish. The people who originated this type of dancing were gypsies from that area. Interesting.

Another thing I have noticed about Spanish music is how much I hear an Arabic flavor to the melodies and harmonies. You couldn’t miss it in the vocal melodies. I had a chance to watch a Turkish band play a while back and the music was so very similar. It’s fun to see how we are musically influenced from all parts of the world.

But back to the dancing. Microphones were strategically placed on the stage to pick up the sound of the dancers’ feet, literally making their bodies part of the music. Guerrero did some solo work out there that was so rhythmically driven I could see why they needed an intermission with so much energy being spent. This type of dancing must be exhausting. Some of the dance numbers were quite lengthy and would surely wear out even the strongest of dancers.

The costumes alone were worth the price of admission. I also sense a bit of an Arabic influence in that department. Bright colors dominated the stage to make each number as colorful as it was precise and energetic. The many people involved in making this production seem effortless are extremely gifted.

Guerrero and company did a fantastic job and left us with something wonderful and uplifting to take home. I heard the audience respond positively throughout the entire performance and rightfully so. This was yet another great show at the MacIninch Art Center (The MAC) at College of DuPage, proving again that you don’t need to go downtown to be entertained.

To say music flowed out of New Orleans is an understatement. The Mississippi River technically flows South, but in “Take Me to the River: New Orleans Live” the music poured out in all directions. There is a documentary coming out later this year to go along with this concert. The same thing was done last year with the music of Memphis as a follow up to Snoop Dog’s documentary “Take Me to the River: Memphis”. I missed that show, but I did see the film, which is a wonderful exploration of Memphis-based music. I almost thought I was going to miss this latest concert that celebrates the music of New Orleans – and I’m sure glad I made it.

What do you get when you combine The Dirty Dozen Brass Band, George Porter Jr. and a couple Neville Brothers? One amazing ninety minutes of musical bliss is what you get. This was a lesson that stems from the roots of American Music.

New Orleans is known as the birthplace of Jazz. It is actually a mini cultural melting pot, musically speaking. A lot of influences are woven into the sounds that NOLA has given birth to. Jazz improvisation was conceived on the streets, emerging from funeral parades. Being below sea level, there are no burial grounds. So, people spent a lot of money on their post life. When people passed on, their friends and family often had parades to the place of final resting. Horn players along the way would jump in with the band…you had to have a band, right? Some of these players didn’t even know the songs being played, so they winged it. The result is what we now call improvisation.

Well, enough of the history lesson, let’s talk about the present. I am actually writing this only about an hour after seeing the show. This review is as fresh as the tomatoes you just picked out of your Momma’s garden. The music was like plate of Jambalaya with a bowl of Filet Gumbo on the side, very tasty. The grooves deep enough to get seriously stuck in.

One of the highlights of the evening for me was The 79rs Gang. This musical outfit was all vocals and rhythm complete with two members dressed in Native American costumes. I guess I am not done with the history lesson. There actually is a considerable Native American influence on the music of New Orleans. If you have ever heard about Congo Square, you know what I am talking about. That was a place to gather. The rhythmic part of NOLA started there. Most of us will acknowledge the African American contribution to the rhythm of Jazz. The people who gathered in Congo Square were basically anyone in town that were not purely Caucasian. This combination of ethnicities helped shape the music in the early development stages.

When I saw Big Chief Monk Bordeaux walk out to join The 79rs, it was just amazing. That gave everyone visual evidence of how these influences united essentially in their own repression. Often, bad things like racism brings forth amazing results. Jazz, R&B and other forms of music in America are testimony to that sad fact in our nation’s history. The redemption is musical forms that are purely and utterly American.

The room was full of people that will probably never know this, but, still, they did have a grand time. I am not saying I don’t appreciate the fact that those who might not know all the history supported tonight’s production. I’m thrilled – and we all have to learn sometime. Maybe a few went home to read up on the music of New Orleans. I think anyone who supports the arts is my friend. I just wonder if they got the same thing out of it that I did.

The McAninch Arts Center hits another homerun for bringing in such a unique, fun-filled musical experience that will be remembered for a long, long time.

When I heard the Charlie Hunter Trio was playing Chicago’s City Winery over this past weekend, I expected something quite different. I was thinking I’d hear the usual fare of guitar, bass and drums – standard trio stuff. Meanwhile, I was sitting with someone that told me to expect guitar, sax and drums. Okay, sounds good. But what we got was guitar, VOCALS and drums. Interesting. I was also expecting something more in the Jazz vein, but I was wrong on that, too. I know what you’re thinking...Jazz has many forms. The Charlie Hunter Trio was a bit more like R&B - and heavily Blues flavored at times.

Hunter does a good job of making you not missing the fact there is no bass player. The first thing I noticed was he had bass notes coming out the guitar. It was a seven-string, but it seemed to get notes lower than that, so perhaps the bass string was tuned down a bit. Then I noticed he was running through two amps. One is a bass amp and one is for guitar. This made me look up his rig rundown today and I discovered that the bottom three strings on his guitar are bass strings, and the top four are guitar strings. There are two pickups on the instrument that allow splitting the bass and guitar strings into separate amps.

This allows a player to do different things. The first and most obvious is playing bass and guitar at the same time. The second is it allows someone to think like a piano player on the guitar. I have had the notion for quite some time that guitar represents the right hand of the piano and the bass the left. This allows a guitar player to do both. You don’t just pick a guitar like this up and start strumming chords on it. This is a bit of a hybrid machine and requires the technical facility to pull the whole thing off. Hunter did an amazing job in doing this. I can imagine at times he wished he had more fingers.

Dara Tucker was the vocalist and she really brought a lot of life to the show. In many ways, Hunter was her support act. Her voice was nothing less than amazing and was a perfect fit with the trio. I later found out she has music available on her own. Damon Grant was Hunter’s rhythmic accomplice on percussion. A very unconventional drummer. He used all different types of percussion to keep the beat alive.

This was not the band I was expecting to see, which taught me a few things. First, keep an open mind about how bands are constructed. Second, that the guitar can be more than just a guitar. In the hands of Hunter, it was much more. I was not disappointed last night one bit. Great show, and it is one I highly recommend, and should they come back – no better place to check them out than City Winery Chicago.

Wow…one more time…WOW! This is one gifted trio and is such a pleasure to watch live. Harold is one of the younger generation Cuban Jazz pianists on the scene. Cuba has had a reputation for delivering some fine Jazz musicians, even though they are less known here in the states. We can thank the Cold War for that. Thankfully that is over. The doors are open again and we need to realize that the best things coming from Cuba are not cigars and rum. Those are nice too, but man…the music is incredible!

Harold is a piano player who has the chops of a Classical player. He also has the rhythmic sense of salsa in his soul. He took this rather student-model looking upright piano and made it dance, baby. A while back I envisioned the piano as a drum set. It is by far, the best harmony instrument out there…but there is a reason why it is often described as a percussion instrument. Rhythm is infectious. It makes you dance, move, scream, etc. The pulse should affect the listeners heart rate. Rhythm controls you. Harold Lopez-Nussa was in command of this, but he did have some serious help.

Younger brother Ruy Adrian was on drums. This young man is one of the finest drummers I think I have ever seen in my life. I am by no means exaggerating. You could isolate the drums and it would be a show. His playing was never overstated either. He played exactly what was needed, which at times was a lot. The music demanded a lot of rhythmic interpretation. Harold’s piano playing already has a ton of rhythmic diversity, the drums added another layer. Watching him play the cajon made my hands hurt. He really put everything into his playing.

Gaston Jova played upright bass. He was described as a “brother from a different mother.” That is a cliché, but I feel that is how the group functions. They are very much a musical family. Gaston is the laid back, jovial kid brother. His playing was very relaxed but very commanding.

Old Town School of Folk Music is such a great resource in the city of Chicago. Not only do they provide education, but entertainment as well. This was in the smaller hall on the east side of Lincoln Ave. This provided a warm, intimate setting. It was general admission and since I was there early…guess who sat in the front row? If you guessed me, put yourself down for a shiny gold star! I was less than 20 feet from someone many consider truly on top of his game. This young man has a serious musical future ahead of him. Take note.

What a fun band! Carl Finch has been leading this band since 1979 and they have achieved a cult status to some people. This is the band that played David Byrne’s wedding. I would describe them as a polka hybrid with a great sense of humor. Having said that, they are no joke...they are a very serious band.

It is time for Oktoberfest so why not celebrate with a polka band, right? Seems appropriate. The band, Brave Combo, hails from Denton, Texas. They are actually not really just a polka band. They blend a lot of genres into a melting pot of entertainment.

Carl Finch leads the band, but they don’t really have a front person, per se. Rather, it is truly a group effort. Finch plays keys, accordion and guitar as well as handling a chunk of the vocals. He also wore a rather festive red hat and looked like he was the time of his life on stage.

Bubba Hernandez is the bass player. He is a long-time member but has actually been in and out of the band. He is one half of a very strong rhythm section. He also handles vocals in both English and Spanish. The other half of the rhythm section is drummer Alan Emert Mansfield. Very solid and dynamic is how I would describe his playing. Finch couldn’t ask for better support.

Jeffrey Barnes was on sax, clarinet and flute and helped out with some vocals too. I heard some vintage licks of all types from Barnes. I think his strongest voice was the clarinet, followed by the tenor. Funny how I always thought clarinets were always these squeaky instruments of torture. They just need to be played in the right hands.

Danny O’Brien on all things brass related rounds out the lineup. He looked the part of an Oktoberfest celebrant. He also played some nice horn licks. He also had a great hat.

Beer mug holding contests were also part of the show, Bubba clearly the winner (Finch cheated a bit). Great show, but the crowd was small and the sound also could have been better. The vocals were buried in typical Chicago Metal Club fashion. Here’s a clue for soundmen in Chicago…let’s hear the vocals! Ugh…this seems to go way back in history of clubs here. When you are not mixing a Metal band, and the singer isn’t screaming…turn him or her up! Part of the reason they are screaming is the fact that you have the drums and bass too loud!

Rant over. It was great show that should have had been better advertised. This is a band that has a strong cult following and should have packed the room. So, keep an eye on the local music calendar and go see Brave Combo. And don’t forget to support live music whenever you can.