Chicago Tribune from Chicago, Illinois on November 17, 2006 · Page 7-13
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Chicago Tribune from Chicago, Illinois · Page 7-13

Chicago, Illinois
Issue Date:
Friday, November 17, 2006
Page 7-13
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123456 NOVEMBER17,2006FRIDAYNWSECTION7CHICAGO TRIBUNE 13 ONTHETOWN Valley Plastic Surgery Center V V 350 8th St. (Rt. 31) • West Dundee For more information, visit us at 847-836-3200 Valley Plastic Surgery Center Specialists In Cosmetic Surgery Certified by the American Board of Plastic Surgery Jay Rosenberg, MD F.A.C.S. & Philip Lambruschi, MD F.A.C.S. • Breast Augmentation (Lift-Reduction-Reconstruction) • Abdominoplasty (Tummy Tuck) • Liposuction • Rhinoplasty (Nose conturing) • Blepharoplasty (Eyelid lift) • Mini Facelift • Laser • Botox, Lip fillers & Skin Care Center Present this ad for a FREE Cosmetic Consultation “The Gold Standard of Cosmetic Surgery” F ACELIFT S S M M A A S S ONLY ON Every weeknight at 7p, 8p, 9p andmidnight Restaurants,nightlife,fashion, shopping,dating,musicandmore! RonHawking At the New Westin Chicago North Shore Lake Cook & Milwaukee Roads in Wheeling Free Parking & Valet Service Available Getyourticketsnow! orcall773-478-1000 SIXWEEKSONLY! atthe NewWestinHotel inWheeling Presents.... Chicago’sTrue LasVegasExperience! NOWPLAYING! A PRODUCTION ® FEBRUARY 27 outlets Buy At: Allstate Arena Box Office  312.559.1212 FEBRUARY 27 ON SALE TOMORROW-10AM! or 312-902-1500 LEAVE THE LEFTOVERS AND HAVE SOME LAUGHS! Special Thanksgiving schedule now on sale. MARIO TRICOCI PRESENTS “Take the family and be a hero!” —San Francisco Chronicle Thanksgiving week schedule: Wed 11/22–7:30pm / Thu 11/23–7:30pm Sat 11/25–1& 4pm / Sun 11/26–3 & 7pm Classical Monteverdi: Madrigali Guerrieri et Amorosi (Book 8) Concerto Italiano, Rinaldo Alessandrini, director (Naïve, three CDs). Claudio Monteverdi’s eighth book of madrigals (“Madrigals of War and Love”), published in Venice in 1638, represent a huge leap forward in compositional technique and approach, following a long gap after previous madrigal collections by the great Venetian composer. These works are very different in style from Monteverdi’s earlier pieces: more complex and shaded, with all sorts of musical innovations exemplifying new musical theories he both embraced and expanded. Who better to record these innovative gems of the vocal and instrumental art than Concerto Italiano, the Grammy-winning, Italian-based, impeccably stylish ensemble? Director Rinaldo Alessandrini helps his musicians bring out a full measure of musical nuance and dramatic vitality in the madrigals. They range from the stylized madrigal plays “Combattimento di Tancredi e Clorinda” and “Il Ballo delle Ingrate” to a variety of shorter, stylistically freer, vocal works. The range of utterance is vast, from poignant evocations of heart-wounded lovers to friskier depictions of amatory delights. Who could resist the charming little dance drama “Movete al mio bel suon le piante snelle,” with its luxuriant echoing effects and virtuoso vocal runs? Or “Armato il cor d’adamantina fede,” with its exuberantly boastful vocal dueling for two tenors? These works represent a high-water mark in early Italian vocal music generally, Monteverdi’s output particularly. Concerto Italiano makes the strongest possible case for every one of these vocal gems as living, breathing art: their emotional directness and immediacy grab the listener by the heart, from across the centuries. —John von Rhein Country Various artists She Was Country When Country Wasn’t Cool: A Tribute to Barbara Mandrell (Sony/BMG) It would take an academic treatise on the fraught topic of “authenticity” in country music to intelligently parse the career of Barbara Mandrell, the steel guitar prodigy who rose to the top as the queen of “soft shell” country music. But this surprisingly smart tribute reveals that beneath Mandrell’s often schmaltzy delivery and arrangements were a number of terrific singles. Her greatest acolyte, Reba, takes on “I Was Country When Country Wasn’t Cool,” a mind-boggling pop manifesto that nonetheless cuts to the core of the genre’s many age-old contradictions. Gretchen Wilson nails the mix of lust and self-loathing in the adultery epic “The Midnight Oil.” Other great tracks abound: Terri Clark’s sassy “Sleeping Single In a Double Bed”; Dierks Bentley’s careening “Fast Lanes and Country Roads”; Willie Nelson and Shelby Lynne’s three- hanky weeper “This Time I Al- most Made It.” And while country radio now shamefully ignores Lorrie Morgan, her mournful take on the betrayal ballad “That’s What Friends Are For” is a reminder of why Morgan remains one of country’s most emotionally attuned modern singers. —Chrissie Dickinson Taylor Swift Taylor Swift (Big Machine) The latest entry in the young country sweepstakes, 16-year- old Taylor Swift is like an American Idol who only lacks the actual trophy, what with her vid- eo-genic good looks, chirpy pipes and state-of-the-art Music Row production. It’s a slick package, pleasant enough but devoid of anything resembling gritty traction. Swift wrote or co-wrote all the songs, a passel of mostly brisk pop-country tunes, including the hit tale of teenage remembrance, “Tim McGraw.” This debut goes down like Kool-Aid. Anyone looking for a stiffer drink will want to take a pass. —C.D. RECORDINGS By Howard Reich Tribune arts critic Some musicians make an impression not by subverting jazz traditions but by reinvigorating them. The pianist Eric Reed wholly epitomizes this approach, since he works to reaffirm core principles that have defined the art form almost since its inception. Hard-swinging rhythms and a deep blues sensibility course through virtually everything he plays, as he reminded listeners Tuesday night at the Jazz Showcase. Joined by two of Chicago’s most adept rhythm players – bassist Dennis Carroll and drummer George Fludas – Reed what fragile physical condition, both Reed and Rubalcaba toned down their pianism, so as not to overshadow McPartland. This time, though, Reed was free to summon the full measure of his technical and improvisational prowess – and did. In the evening’s opening tune, Benny Golson’s “Stable- mates,” Reed and the trio swung aggressively, and never let the rhythmic intensity flag. With Carroll and Fludas pressing ever forward, Reed produced right-hand lines that proved as original as they were complex. Some of the best work of the evening unfolded in Thelonious Monk’s “Introspection,” which summed up the essence of Monk’s style but also expressed some of Reed’s distinct touches, as well. The stop-start rhythms and piquant dissonances that are central to Monk, in other words, were plain to hear, but so was the elegant phrasing and gleaming tone that are Reed hallmarks. The sensitivity of Reed’s ballad playing was more apparent on this occasion than usual. In “What’ll I Do?” he nearly suspended any sense of forward motion. Instead, he conveyed a sense of hushed reverie, the delicate octaves of his right hand floating over sustained chords in his left. Reed cuts loose — but within bounds of tradition Eric Reed Trio When: Through Sunday Where: Jazz Showcase, 59 W. Grand Ave. Price: $20-$25; 312-670-2473 REVIEW played one of the more engaging sets this listener has heard from him. For starters, Reed sounded practically liberated, compared to the last time he played in Chicago, where he shared the stage with hyper-virtuoso Gonzalo Rubalcaba and 88-year-old pianist Marian McPartland. Presumably because of McPartland’s advanced age and some-

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