The Producers of We Believe, Chicago and its Cubs are looking for local musicians and bands to contribute original recordings of classic songs about Chicago.

We Believe is a story about the love affair between the Cubs, its fans and the city of Chicago. Directed by Emmy and Grammy nominated Director John Scheinfeld, the film is the first to be authorized by the Cubs in over 30 years and has the complete support of Major League Baseball.

One of the most important aspects of any film is the music. The film will include music by artist such as Frank Sinatra and Steve Goodman, as well as some original recordings by Billy Corgan. In addition, the Producers would like to include an original song by a local artist as part of a feature film.

We are asking musicians and bands to cover their favorite song about Chicago. A suggested play list can be found below.

* "My Kind of Town" – Frank Sinatra
* "Go Cubs Go" – Steve Goodman
* "Sweet Home Chicago" – Robert Johnson, covered by the Blues Brothers
* "Take Me Back To Chicago" – Chicago
* "Dear Chicago" – Ryan Adams
* "Going to Chicago Blues" – The Count Basie Orchestra
* "Peace Frog" – The Doors
* "Prairie Song" – Billy Corgan
* "Riverview" – Billy Corgan
* "Tonight, Tonight" – Smashing Pumpkins
* "Little Joe from Chicago" – Nat King Cole
* "Back to Chicago" – Styx
* "Bad, Bad Leroy Brown" – Jim Croce
* "Chicago Bound" – Jimmy Rogers
* "Chicago" – Da Brat
* "Baseball Dreams" – Ralph's World
* "Born in Chicago" – Paul Butterfield
* "Chi-City" – Common

They are interested in any and all genres, so be creative! The winning song will be featured in the film, included on the soundtrack and be sold as part of a CD that will include nine other finalist. Proceeds from the sale of this CD will be split among the artist(s), the Production Company and Cubs Charities.

The winner will be invited to promotional events involving the film, highlighted on the We Believe web site and given a credit in the film. All chosen musicians will be required to sign a release.

This is a great way to expose your music and style to a nationwide audience. Please visit their website for additional information at www.webelievethemovie.com.

For considered please mail in or drop off your submissions immediately for consideration:

WE BELIEVE THE MOVIE
101 W GRAND SUITE 322
CHICAGO, IL. 60654
(Business hours Mon-Fri 9AM – 5PM)

Or email them your MP3 to yourmusic@webelievethemovie.com

THANK YOU!
Webelievethemovie.com

Discussion: Humidity and Instruments
It is that time of year in Chicago again. Soon the radiators will be clanking and snow will replace the rain. The air will be getting drier, and that means it is definitely time to humidify your instruments. We like to think humidifier season in Chicago runs roughly from beginning of October to the end of May. But, a solid wood instrument should be monitored (humidity-wise) throughout the year. Although all wood will be somewhat affected by humidity, instruments made with solid tops and instruments that are all solid wood will be affected most. The health of your instrument is a factor that is directly related to relative humidity, which is the amount of water the in the air at a given temperature. Different climates have very different relative humidity throughout the year: the southwest is often very dry with regularly low relative humidity, while Hawaii may have consistently higher relative humidity. But no matter where you live, at some point in the year almost everyone will need to address humidity (be it high or low) with their solid wood instruments. (Caveat: This is especially true if you go from one of the extreme climates to another. If your Ukulele has lived its whole life in Hawaii and you move to the desert in Arizona, or the sub zeroes of North Dakota, your instrument is in for a big shock and likely needs to be monitored and humidified.)
There are two very important tools you will need to make sure your instruments are correctly humidified.
The First tool is a humidifier. Not a room humidifier that you can buy at a pharmacy, but a specifically made instrument humidifier. (Both would be the best!) All humidifiers generally do the same thing: They store water to be released slowly into the air. Instrument humidifiers range in scope and price from the zero cost homemade "sponge-in-a-plastic-travel-soap-holder" to the two-in-one digital hygrometer/humidifier style that can cost as much as $75. There are plenty of well functioning humidifiers in the $15-$25 range. Generally an instrument humidifier will go in the sound hole of your instrument or sit inside the case. As the water from your humidifier "seeps" into the air and the case, the relative humidity in your case increases. This allows your instrument to draw the water it needs from the air. After a time, the humidifier will dry out and need to be refilled.
The Second is a hygrometer, A hygrometer is an device that measures the relative humidity in the air. The best place to keep a hygrometer is in an instrument's case. The hygrometer allow you to easily see if the relative humidity in and around the instrument is at the correct level. There is some debate about the correct level of humidity, and each instrument will have its own perfect spot. Generally though, the safe zone for musical instruments is between 45%-55% relative humidity.
Diagnosing some problems with humidity are easy and obvious, others are not so easy to see or understand. Instruments are made of many parts, some that respond to changes in humidity very quickly, and others that barely change at all. Most solid wood instruments are constructed in temperature and humidity controlled environments and will respond. And most musical instrument stores will have a well regulated humidity system to insure that instruments do not dry out too quickly. So when you take your instrument home from the shop, you can be very sure it has spent most of its life in the correct humidity range. When it leaves the shop it is in your hands, and a simple inexpensive tool can save you tons of time and money in the long run.
Some quick signs to help you with low humidity

* Metal frets stick out and scrape your fingers (neck and fingerboard wood is shrinking, the metal is not)
* Weather changes and all of a sudden your action is low and your guitar is buzzy (The top of the instrument is dipping)
* You can see the grain on the top more pronounced (if you run your fingers across the grain it may even feel bumpy)
* Obvious cracks (drastically low humidity)
* Bridge may begin separating from the top (again this is the end of the spectrum you don't want to be on)
* The obvious look at the hygrometer
* Finally a sure fire way to know if you should humidify: If you and your skin feel dry and need some moisture, your instrument probably does too.

Feel free to stop in the store with your instrument and we can help you assess what you'll need to keep your instrument happy.

From Bau's Blaug:

Okay, here's a challenge for you. Old Town School of Folk Music is the inheritor of an amazing legacy of artistry. Several of us have joined in an effort to celebrate that heritage on our facilities' walls. You'll notice a large selection of archival photographs and posters going up this week, and there'll be another round coming soon. We need your help with another project – the assembly of a Timeline of Music that can involve the whole School community. Students, teachers, staff, passers-by can all get into the act on this.

Who are the heroes whose work rings in your ears today? What are their most enduring achievements? We've designated the wall circling around the horseshoe of private studios in the basement as the place to assemble this participatory timeline. You are invited to create a small memorial to those events that you think are most important – and pin it right to the wall segment that places it in time. For example, Woody Guthrie's birthday (July 14, 1912) should appear about four-fifths of the way across the "1900-1914"section of wall; the day Bob Dylan plugged in his Stratocaster at Newport (July 25, 1965) belongs just past halfway across the "1960-1969" section. Your contribution can be as simple as a name and date written on a piece of paper – or as elaborate as you want to get. If you have a deep knowledge of Delta blues or Irish music, be sure to inform us about those key dates; if your thing is rockabilly, punk, or salsa, we want to know about your greatest hits, too. In this way, we hope to build a rich portrait of the many musical currents that continue to flow through this institution and our lives. It should ultimately become the most flamboyant and informative bulletin board in town. Get into the act. If your favorite is not represented on our wall, get them up there! Have fun. Be creative.

Our executive director (Bau Graves) has started a blog on our homepage. You can find it at oldtownschool.org. Here's the first entry:

Welcome to Bau's Blaug, a corner of our website where you can come to get the latest news from "the Big Cheese." There is much going on at Old Town School, and it is my hope and intent to use this space to communicate with our extended community about what we're doing, and why.

For example, you may have heard that the School is planning to create a new facility across the street. But you may not be aware that our dance programs have grown so fast over the last decade that Old Town is now the most comprehensive school of dance in Chicago – which is why we're planning to build four big new dance studios. If you've ever taken a guitar lesson downstairs from the Irish step dance class, you know how badly we need acoustically-designed classrooms, but unless you've been a fly on the wall in the admin suite, you probably don't know that the new building will feature technologically "smart" classrooms, capable to serving new audiences through fully interactive distance learning.

My plan is to knock out a couple paragraphs every week just to keep you posted on what's being discussed, what ideas are in the air, and which direction(s) I see us headed. A running commentary on the state of the School, the School's place in the community and the world, and our navigation of the great rivers of tradition and innovation. You're invited to visit this blog often, and to join in the dialogue yourself.

All shows start at 10am, all summer long!
FREE! Join the Wiggleworms instructors as they lead young children in sing-alongs, circle dances, finger games and more. End the hour playing with rhythm instruments specially designed for little hands to enjoy. At the Chase Promenade North.
August

August 1st - Julie Helenius
August 2nd - Sandy Lucas
August 3rd - Linda Robertson
August 4th - Lisa DeRosia
August 5th - Lindsay Weinberg
August 6th - Sandy Lucas
August 7th - Mr. Singer
August 8th - Anne-Marie Akin
August 9th - Tisa Batchelder
August 10th - Linda Robertson
August 11th - Lisa DeRosia
August 12th - Lindsay Weinberg
August 13th - Shannon Sherman
August 14th - Sandy Lucas
August 15th - Anne-Marie Akin
August 16th - Lindsay Weinberg
August 17th - Julie Helenius
August 18th - Shana Harvey
August 19th - Maryanne Johnson
August 20th - Lisa DeRosia
August 21st - Ann Torralba
August 22nd - Ann Torralba
August 23rd - Lisa DeRosia
August 24th - Karen Banks-Lubicz
August 25th - Lisa DeRosia
August 26th - Mr. Singer
August 27th - Karen Banks-Lubicz
August 28th - Tim Knuth
August 29th - Lisa DeRosia
August 30th - Julie Helenius
August 31st - Shana Harvey
September 1st - Shannon Sherman

Good things happen all the time at Old Town School. Here's a recent one that was extra special:

http://www.youtube.com/watch?v=50v1RhyGlkcA Proposal

Report on Paddy Jone's visit to the Fiddle Club

The Leadway Bar & Gallery was full of fiddlers Friday, March 14, for the first meeting of the Fiddle Club of the World. About 30 musicians showed up. Most had a fiddle and a bow. I counted one guitar and one banjo. And a handful of folks showed up just to listen.

I got there right at 7:30, and several Fiddle Club members pitched in right away to help set up our small p.a. and arrange the Leadway's long, narrow party room for listening and playing. (Some eating was going on as well. The Leadway has a kitchen, and Frank, the owner–he's also a fine sculptor–had set out several trays of veggies and dip for us.)

The music started about 8 pm, as we all played a few tunes together. Since the Fiddle Club members come from various musical walks of life, I thought it valuable to talk about what people expect from a session. Old-time players jump on a tune and ride it till it finds its groove and finishes the course. You might play one tune through a dozen times. At Irish sessions, a tune is usually played two or three times through, and strung together with several others in a medley. Someone or most everyone knows what tune comes next. Bluegrass sessions start by establishing a rotation of lead breaks, and pass the tune around from one player to the next. The Fiddle Club of the World has no established set of rules, but seeks to allow players to stretch boundaries and extend horizons to experience more of what fiddling can do for the world.

Paddy Jones, a truly delightful man and musician, got started about 8:30. He was artfully accompanied by Jesse Langen, who arrived just in time after a gig with the proprietor of Chief O'Neill's pub. Paddy's playing was strong, sensitive and rhythmic. He enthralled the room.

(I was very pleased with the acoustics and atmosphere of the Leadway. Paddy could be easily and clearly heard. We used just a bit of p.a. reinforcement, but it may not have been necessary. The front bar room filled up as Paddy played, but the noise from that side never caused a problem. It's a good room. It would work better if we could move the tables out of the way.)

After close to an hour of concertizing, Paddy was ready for a break. He said he was used to having a singer step up with an occasional song, so he could rest his bow arm for a few moments. We'll keep that in mind for future meetings.

Then it was time for everyone to play a session with Paddy and each other. A few young players could hardly wait to play through the tunes we've had posted on this website. Paddy asked if anybody had any questions. There was a suggestion that he demonstrate how to ornament. Paddy put on his teacher's hat and led everybody through a demonstration of grace notes, bowing rhythms, and the essentials of playing for dancers. (We'll post some samples of his "lessons" in a few days.)

Everybody got to play. We went through the tunes posted ahead of Paddy's visit–the Kerry Polkas, the Kerry Slides, and the unnamed reel that is, in fact, The Galtee Rangers. Jessica Zeigler and her students from Old Town School Irish fiddle classes led us through some standard Irish session tunes. We ended sometime after 11 pm.

Thanks to all who attended, participated, and helped. A special thanks to Tim Joyce and Colby Maddox from the Old Town School, and to Frank and the Leadway Bar & Gallery,

See you April 20.

Paul Tyler, Convener

Hey folks. We're just finishing an awesome La Peña season, and what better way to follow it up than an awesome AfroFolk season? Here are the details:

All concerts are in the Gary and Laura Maurer Concert Hall
4544 N. Lincoln Avenue
Admission is free, but we'd love you more than we already do if you donate $5. It's also in your best interest to reserve tickets in advance by calling 773.728.6000 or stopping by the front desk.

Wed, Nov. 07 '07 8:30 PM
Thomas Mapfumo
Thomas Mapfumo, "The Lion of Zimbabwe" is one of the best-known African artists on the world music scene today. He successfully introduced the traditional sacred music of the metal-pronged Mbira and Ngoma drumming into the mainstream through his music. Known for championing African culture and causes, Thomas Mapfumo has been a driving force in African pride and identity.

Wed, Nov. 14 '07 8:30 PM
Ubala y Sus Rolass
In recognition of Garifuna Settlement Day on November 19th, we present one of the greatest artists in honduran Garifuna music. Ubala was the voice of Los Rolands, one of Honduras' most celebrated dance bands, for 18 years. This Afro-Latin event promises high-energy dance music with a good dose of Garifuna culture.

Wed, Nov. 21 '07 8:30 PM
Tifane
Tifane is a Haitian performer of the highest caliber. As a university student in Chicago, she performed briefly with local band Tchaka as a singer and dancer. She returned to Haiti to begin working in her profession in Criminal Justice but was inextricably drawn back into the world of music. She was honored in Haiti as "Revelation of the Year" in 2005 and then "Best Female Singer" in 2006 by Musique en Folie and the Haitian Entertainment Awards. As a recording artist, she has had several hit songs and videos and has toured the Caribbean and Europe. Don't miss her return to Chicago with an all-star Haitian band.

Wed, Nov. 28 '07 8:30 PM
Stella Chiweshe and Tony Cox
Here is a spectacular double bill from two Zimbabwean masters performing solo. Stella Chiweshe "The Queen of Mbira" is an internationally recognized singer and musician who has been performing and recording Mbira for more than 35 years and is considered a cultural ambassador of Zimbabwe. She began when Zimbabwe was still a Rhodesian colony and playing the Mbira was punishable by imprisonment. Her solo work is deeply meditative and demonstrates how this unique instrument can somehow represent bass, rhythm lead guitars, drums combined. Born in Zimbabwe and raised in South Africa, multiple award-winning acoustic guitarist, Tony Cox is making his Chicago debut on the heels of a 23 theatre tour of Canada. His solo style reflects the multi-textured rhythms and facets of the rich, indigenous music of his upbringing and surroundings.

Wed, Dec. 05 '07 8:30 PM
Dr. Lena McLin and The McLin singers
Dr. Lena McLin is one Chicago's most renowned African American musicians, teachers and composers known for launching the careers of many of Chicago's shining stars. In this holiday special, Dr. McLin and The McLin Singers will present an array of spirituals and gospel in the Chicago tradition featuring a full chorus and noted soloists.

Wed, Dec. 12 '07 8:30 PM
Asiko Afrobeat Ensemble
New York City based Asiko, is a 13-piece spiritual afro-ensemble making its Chicago debut. Asiko was formed in 2003 by the multi-talented singer, designer and percussionist Foly Kolade. Originally from Ogidi, Nigeria, Foly has trained and performed with Roy Ayers, Mariam Makeba and George Benson in Nigeria and New York. Asiko Afrobeat Ensemble is the musical expression of a diverse group of musicians and influences melding Highlife, Soukous, Afrobeat and Samba with Funk and Soul. Their powerful performances have moved audiences across the Northeast, and earned them the 2006 Nigerian Entertainment Award for "Best Afro-pop Group."

My how the time flies when we're having fun. It's graduation week again. Don't forget to practice if you're playing, and swing on by if you have a friend graduating. See oldtownschool.org for some details.

Every August (and December), we folks at the School get a well-deserved two week break. We're in the midst of it right now, so don't show up thinking you're going to take a class, 'cause there aren't any to be had. We'll get things rolling again on September 4. You can still register or buy concert tickets as there are folks in the office except for Tuesday, August 21. See you in session 5!