Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: Jeff Wichmann
Recommended by: Darren Garvey

Until recently, Jeff Wichmann’s musical worlds have been divided into two camps – the trumpet and the Japanese koto (a traditional stringed instrument). He’s put out four albums playing horns and keys with the Chicago rock band TENKI and has been seen marching around town with Environmental Encroachment. He’s also been playing the koto in local and international ensembles, working with experimental artists like Rei Hotoda and HAL, and touring with the Steppenwolf Theater production of Haruki Murakami’s “After The Quake.” In 2009 he finally fused his two worlds and recorded his first solo album called Ahhh!!!, which will be released this spring. Catch a preview on March 19 at Hotti Biscotti.

Describe your sound in 140 characters or less.
Experimental Japanese koto brass rock: James Bond sipping a martini with Sun Ra in a digital tea house floating in space.

Where and when was your first show – and what was it like?
Well, I’ve had a hundred “first shows.” I hated my first piano recital when 8 years old at McCormick Place. The trumpet has always gotten me involved in the wackiest as well as the most traditional of bands, jazz ensembles, orchestras – the usual. But in college, I went through my Harrison sitar stage and began studying the Japanese koto and Asian music. My first paid gig was in a funeral home in Rock Island. A family wanted something “Japanesey” and hired me. So there I was playing Japanese folk songs with a body in a casket 20 feet away while the whole family stood around me holding hands and crying. I’m still feeling that weird karma. Then, I moved to Japan to study under Kazue Sawai and had my first sort of official koto concert in Tokyo back in 1992. Huge concert hall. Hundreds of people. Half-way around the earth. Young, adventurous and scared. I was playing in a trio of koto players, a contemporary piece, and was like, here we go, big debut on an instrument I barely knew. I was so nervous that my hands completely froze and I could hardly perform. I slopped through the concert. It was a mess. There and then I learned the valuable lesson of failure before success.

Name three of your favorite Chicago spots (bars, restaurants, venues, parks – whatever).
Always love the Hideout for the rootsy atmosphere, the intimacy of shows, and cheap PBRs.

Chicago Food Corp./Joong Boo Market is the best place in the city for Asian market goods and the Snack Corner restaurant inside has the cheapest and best no-frills Korean food around.

To totally space out my mind and body I love a soak at SpaceTime Tanks – one of the oldest sensory deprivation tank facilities in the US.

What Chicago artist/band should we interview next and why?
Model Citizens Big Band. For years, every so often I’ll head to Bucktown’s Gallery Cabaret every third Monday of the month to experience the musical madness of director Brian O’Hern and his big-band gang of top-notch cats. No jazz snootiness or shoe gazing here. Anything goes with 20 people on stage drinking beer and ripping the hell out of any chart O’Hern throws at them while the always packed audience dances, hoots and hollers. It’s so under the radar and a total Chicago experience. Bliss.

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Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: Darren Garvey
Recommended by: Packy Lundholm

The list of bands that Darren Garvey contributes to is long, including the Andreas Kapsalis Trio, Cameron McGill & What Army, Ernie Hendrickson, L’Altra, Paper Arrows, Buddy Nuisance and Like Pioneers. With all that experience, the drummer/percussionist should have little trouble creating his own one-man band, on his debut solo album, Under A Common Ceiling, to be released in March 2010. Garvey will play guitar, piano, bass, drums, percussion and sing on the record, which offers songs full of “advice for the struggle with technology and loneliness.” You can find out what that means during upcoming shows at Tonic Room (March 14) and The Whistler (March 16).

Describe your sound in 140 characters or less.
Like when Phil Collins left Genesis’ drum chair to begin his career of balladry; well, that’s what I did, but it sounds completely different.

Where and when was your first show ? and what was it like?
My first show was at Malo’s in Aurora, IL in the early ’90s. It eventually became Riley’s Rock House before closing its doors. This was the only legit all-ages venue in the western suburbs and we were taken advantage of with payment every time we played there. They used a hand-tally device to get the official numbers from the door, but would only count one-third of the crowd. Every night ended up in the back kitchen arguing over money; and when you’re 16 it’s pretty tough to win that one.

Name three of your favorite Chicago spots (bars, restaurants, venues, parks ? whatever).
The Tonic Room on Halsted has a special place in my heart because I played there with the Andreas Kapsalis Trio every Tuesday for almost 2 years. As a beer enthusiast, I truly enjoy the Beer School Bar at Sheffield’s where Phil can recommend you an excellent beer. When I have a bit of extra cash in my pocket I like to take my wife to Green Zebra or one of Rick Bayless’ restaurants.

What Chicago artist/band should we interview next and why?
Packy Lundholm graciously chose me to be interviewed. He is an extremely talented multi-instrumentalist and I’d like to put myself in the same category of, at the very least, playing many instruments well enough. I’d like to pass the baton to another great multi-instrumentalist in Chicago. Jeff Wichmann might best be known on the scene for playing keys and trumpet in TENKI, but his compositions on koto, his collaborations with theater, and his new solo project featuring himself on koto and trumpet (sometimes at the same time) are definitely worth checking out!

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Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: Packy Lundholm
Recommended by: The Dirty Rooks

If you go to shows regularly, there’s a good chance you’ve heard or seen Packy Lundholm even if you didn’t know it. The multi-instrumentalist has plied his trade with so many different local acts, we’ve lost count. Most recently, Lundholm joined forces with I Fight Dragons, the Nintendo-Rock band (yes, you read that right) that just signed a deal with Atlantic Records. Consider this your official introduction.

Describe your sound in 140 characters or less.
Hippie-Nintendo-Funk-Drunk-Klezmer-Blues-Country-Core. My motto: Give the people what they want.

Where and when was your first show ? and what was it like?
I was 9 years old, playing drums with my older brother’s band at a party with really cool “older” kids (Junior High-age, the coolest). We played some Lenny Kravitz, Hendrix, and Pearl Jam, and probably a few songs off Dookie. I was so excited and intimidated that I was playing every song pretty much in double-time, despite everyone in the band yelling “SLOW DOWN!”. The jam at the end of “Alive” was especially amped up. I still have this problem.

Name three of your favorite Chicago spots (bars, restaurants, venues, parks ? whatever).

-Sultan’s Market on North. I could eat the spicy falafel sandwich thrice a day for a fortnight.
-Charter One Pavilion. The only way to make an outdoor summer concert any better is to make the Chicago skyline the backdrop. Great sound, too.
-Any mechanic or body shop in the city. Every one of them is chock-full of Chicago attitude (i.e., people who say Montrose is at Forty-Four Hunnert nort).

What Chicago artist/band should we interview next and why?
Darren Garvey. He’s a frightening, worldly, musical power-genius, and I’m sure he’s got some stories for you.

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The Jordan Years is a five-piece band made up of Wes Restless (vocals), Mr. Anderson (bass), Michael “MC” Cole (keyboards), “Angry Joe” Dorenbos (drums) and Roger Panella (guitar). Together they combine elements of funk, rock and hip-hop into a groove-heavy mixture of vintage soul, reminiscent of Motown and Stax.

Wes (also of The Gent$) is at his finest crooning over the driving rhythms of Anderson’s bass and Dorenbos’ drums. Cole and Panella are the mellowing factor with their playful banter of melodic keys and choppy guitar riffs. Two singles – “See the Light” and “Warm Me Up” – have convinced fans that The Jordan Years is the real deal, and with a full-length looming, Centerstage sat down with the quintet to discuss its beginnings and what 2010 will bring.

How’d you guys meet?
Joe Dorenbos: Craigslist “men seeking men” ad.

Interesting name. Is it your homage to No. 23 himself?
Roger Panella: Yep…you got it. It’s an homage to Ryne Sandberg.

Mr. Anderson: Legally it’s based off a friend of ours named Jordan…but in all reality, it’s more of an homage to Chicago and a time when the Bulls were winning and no one knew what an mp3 was.

JD: The Jordan Years is a moniker that is meant to elicit a deep personal emotional reaction, much like the words “Ferrari” or “America” or “Double penetration.”

Michael Cole: This is the second “basketball-themed group” I’ve played in (Fly Williams was the other), and I did not help name either but I endorse them both.

What did you think of MJ’s Hall of Fame induction speech? For the most part people seem split.
Wes Restless: The worst rapper I know is less humble on the mic than MJ.

JD: I don’t think about it. What I do think about are off-color slogans to print on t-shirts for babies.

Who are some of your musical influences both past and present?
MA: In ’95 I discovered V103 and spent countless hours listening to Herb Kent with notepad in hand, playing student to his radio show.

JD: My playing is influenced by stuff I hear on the radio, or the Weather Channel.

MC: Past influences: Stevie Wonder, Sly, Prince, Funkadelic, Herbie Hancock, Meters, Donny Hathaway, Fela. More recent influences: Animal Collective, Radiohead, John Legend, Lupe Fiasco, Kanye, Medeski, STS9.

What sort of inspiration does Chicago provide?
MA: This is the city that brought the world Curtis Mayfield, Barack Obama, Walter Payton, Mike Ditka, the Daley family, Mike Royko, Studs Terkel, Michael Jordan, Chess Records, Playboy, etc.

JD: The never-ending supply of pretty girls.

MC: Coming from NYC I originally liked Chicago because it was “cheap and easy,” but there is an incredible scene in Chicago for creating music and art. Hearing other Chicago artists is inspirational and provides the drive to work harder.

Any favorite places to perform at?
WR: NYE at Black Gate Studios was fun, crunkness & indoor chiefing equals A+.

RP: Anywhere that will deal with our huge egos and our ridiculous riders.

MA: The studio.

JD: In front of pretty girls, rows and rows of hotties.

MC: A full room, a full darkroom.

What’s been your most memorable show so far?
RP: There’s only one gig I can remember clearly, but I’m not sure where it was at.

JD: I was asked once if I was as good in bed as I am on the drums. That kind of stuck in my head.

MC: Probably the last one. We are on a roll right now.

Listening to your music is sort of like inhaling a Motown-style breath of fresh air. What’s the recording process like for you guys?
RP: Basically, we write music and play it through Andersen’s computer. We run it through a plug-in, and it comes out sounding old.

JD: Hard work, decision-making and inhaling copious amount of…

MA: We really should have Bud Light, PBR and Camel Lights as sponsors, hopefully the staff at Food Smart get a raise from our patronage.

Tell me a little bit about West Town Recording.
MA: Heavily influenced by labels like Daptone, Stax, Chess, and Motown with recording studio, house band (The Jordan Years) and label all under one roof. The mission is to record and release through unconventional means the soulful side of funk, jazz and hip-hop. It started as a rehearsal space, it turned into a studio and then became a record label. The plan is to be the next Berry Gordy, but for now I will strive to be the next Gabriel Roth.

JD: I like to refer to it as the “spliff-bunker.”

MC: It’s a start-up operation, but it’s built for the state of the music industry in 2010. We just try to handle as much as possible ourselves. Rehearsing, recording, screen printing shirts and posters, logo and website design, marketing and promotion – it’s all done in-house at WTR.

There’s a nice contemporary funk scene now. What’s your take on people’s revitalized interest in soul music?
JD: They should seek medical attention immediately.

RP: Feed people enough crap and they’ll realize that they like watching people play instruments. Especially in a non-ironic way.

MC: We call it the second wave of soul. There’s always going to be a market for original, soulful music because the sounds are so rich. It just makes people feel good, like comfort food. When you hear real, live brass horns and other fat-sounding instruments, it’s noticeable. So much of today’s music is heavily quantized sequences, sample and soft-synth stuff. It doesn’t have the same impact as the real thing. People love fat analog sounds. There is no substitute for real instruments played by real people.

When can we expect a full-length?
WR: Never!

JD: We won’t give you much in length, but we have plenty of girth.

MC: Hopefully by the end of 2010. If an investor wants to sponsor us, we can probably get it done faster.

Anything else on the horizon for 2010?
WR: The Jordan Years, Wes Restless, The Jordan Years, Wes Restless…

MA: The house band spot for Dre Day with Rhymesayers artist Psalm One on February 19th at darkroom, and a trip to NYC in April backing Chicago comedy legends Schadenfreude, tentatively titled “The City That Works.”

JD: Hopefully lots more gigs with lots more pretty girls dancing.

Check out Centerstage Chicago food and drink deals!

Follow Friday is a weekly interview series in which each Chicago artist we talk to recommends a fellow local act.

This week’s guest: The Dirty Rooks

Blues rock is all the rage nowadays, but The Dirty Rooks have been at it for some time now. The band’s latest album, Sugar Mama feels both fresh and classic at the same time, as the ever-expanding crew throws down a mix of soul and classic rock. Guitarist/vocalist Grant Gholson (second from left) took some time to answer a few questions in advance of the band’s album release party, February 14 at Lincoln Hall.

Describe your sound in 140 characters or less.
“Booze rock” aptly describes the sound of our big, noisy, inebriated musical community. Think, The Faces, with moments of soul & country.

Where and when was your first show ? and what was it like?
Phyllis’ Musical Inn, like everyone else’s first show. It was the night the Sox won the World Series. Our set was delayed an hour because of the game, immediately after which most of the patrons left the bar. We played a hastily-improvised version of “Sweet Home Chicago” to the remaining stragglers. There were just four of us at the time, and I’m sure it was awful. But it felt pretty good to be in a rock band.

Name three of your favorite Chicago spots.
As a venue, Martyrs’, absolutely. Big stage, great sound, lots of support. For listening to music, it’s hard to beat B.L.U.E.S., since you’re about two feet from the stage and they bring in A-list blues talent. And we’d be remiss if we failed to mention Laschet’s Inn near Lincoln Square, which is one of those special little enclaves of the Old Country that has somehow managed to stick around.

What Chicago artist/band should we interview next and why?
Packy Lundholm. The man is a musical polyglot. He’s playing guitar in I Fight Dragons right now (great band), and several other instruments in several other bands. It’s not a case of if he gets huge, but when.

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