Chicago - Riverside Theater, Milwaukee. 9/5/2023

  by Lisa Torem

published: 26 / 5 / 2023

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Article

The quintet, Mistaken Identity, fired up the lavish Riverside Theater with an energetic mix of originals and classic rock songs, including ‘Some Kind of Wonderful’ and ‘The Old Man Song.’ They began the set fifteen minutes early, leaving Chicago plenty of time to set up. Chicago’s success can be verified, not only by the band’s vast musical output, but also, by the supergroup’s multi-generational fanbase. The sold-out show included plenty of super fans. In fact, one couple was celebrating their twenty-first Chicago concert, after fifty-years of marriage – they met at a Bratwurst festival in nearby Sheboygan. From my fifth-row seat, I had a spectacular view of the camaraderie, choreography—the ten musicians faithfully played “musical chairs” to give the audience equal views, and scintillating storylines brought vividly to life on a massive, background screen. Chicago continues to tour with three original members: keyboardist/vocalist Robert Lamm, trumpeter Lee Loughnane and trombonist James Pankow. Drummer Walfredo Reyes Jr., was added in 2012, followed by saxophonist Ray Hermann in 2016. Both musicians add dynamically to the signature brass and percussive sound that first brought the group fame. Fiery percussionist Ramon “Ray” Yalas came aboard in 2018, along with confident Canadian tenor Neil Donell. Newer members are guitarist Tony Obrohta, added in 2021, plus most recently initiated 2022 musicians: synth/keyboardist Loren Gold (Melissa Etheridge, Steve Winwood, Don Felder), who came aboard as a substitute, and eventually replaced Lou Pardini. Gold’s has developed a solid reputation as an arranger/instrumentalist and musical director in the industry. He toured extensively with The Who. Versatile bassist Eric Baines racked up hours with Dwight Yoakam and Lee Ritenour. Formed back in 1967, the band was originally called The Big Thing, and then, Chicago Transit Authority before immortalizing their preferred moniker a couple of years down the road. And putting aside any confusion about the line-up flurry, the current status reigns supreme, with an enviable energy taking place constantly between generations. With Pankow’s welcome, a wonderful night of music commenced. “We have a lot of music for you guys tonight. You have stuck around for so many years. We are blessed.” Similarly, to other shows, Chicago began with a fluid, instrumental, humbly entitled: ‘Introduction,’ followed by guitar riff-centric ‘Dialogue,’ with related dual vocalizing and ‘Questions 67 and 68’ from their C.T.A. incarnation. ‘Call On Me’ cued up denim-clad Donell, whom, as the evening progressed, proved he can handle any key, and tackle the most challenging modulation. He would do original songwriter member Pete Cetera proud. ‘Wake Up Sunshine’ is, as one can guess, a spirited, optimistic arrangement, ideal for an already geared-up crowd. As I mentally leafed through each subsequent song, I marveled at the idealism of the lyrics. The seamless ‘Searchin’/Mongo’ needed no definition. The audience voiced quick approval for another celebrated love song, ‘If You Leave Me Now,’ with its bombastic horn line and emotionally intelligent message. The beautifully structured ‘Ballet for a Girl In Buchannon’ incorporated blunt, brass hits and sandpapery lead vocals. Pankow’s brass arrangements ebbed and flowed. It was a thrill to sit back, hear the horns escalate in complete unison, branch off into smooth harmonies and captivate with complex counterpoint. It was a joy to witness the band’s ability to transition time and space, sans missing a singular beat. Loughnan’s trumpet solo, the highpoint, came across as warm and passionate. ‘Color My World’ had a few missteps, but got back on track quickly. Regardless of whether Pankow tooted magically, or held his horn to the side, he exemplified the part of the effervescent showman—some musicians simply don’t age. Hermann’s flute solo was dreamy. After a twenty-minute intermission, the band returned. ‘Alive Again’ from ‘Hot Streets’ is another half-full composition with spot-on harmonies. “All the empty days have disappeared now that you have filled my life with love.” Wow. No wonder Charlene and her husband have kept the “Chicago” flame burning—what romantic lyrics! Not surprisingly, on the other hand, was that this consummate workout left Reyes Jr., without dripping an ounce of sweat. ‘Does Anybody Really Know What Time It Is’ was another all-out energizer. A nostalgic Pankow remarked: “We’re just warming up. We figured we’d get lucky to get one or two albums out of this. We’re still around and so are you. We’re going back to the 1980s.” ‘Old Days’ aided the concert hall spirit, with spectacular strains of electric guitar. Pankow shimmied up to the riser, for ‘Hard Habit to Break,’ a tune about the frailties of falling in love. “I’m addicted to your horns,” Donell teased. I felt the breathless anticipation of the crowd when the opening bars of ‘You’re the Inspiration’ came about, courtesy of stirring piano chords and Gold’s immaculately layered synth lines. Fireworks cracked on the screen against backing harmonies of the hook, “When you love somebody.” “Milwaukee, Wisconsin, how are you? Isn’t it amazing for all of us to be together in this room tonight?” Donell inquired, without waiting for an answer. His vocals on 1969’s ‘Beginnings,’ Lamm’s first band song, were arguably heartfelt. A natural, onstage, Donell moves organically to the phrases, knowing instinctively where to emphasize a word or phrase. His love of the music truly radiates. The arrangement included a sonic battle between trumpet and trombone. For the Spencer Davis cover, ‘I’m A Man,’ Yalas and Reyes, Jr., seared the spotlight, leaving horn players to tackle cowbells and claves. As a drum/percussive tour de force, they worked the audience up into a whirling dervish frenzy, with amusing stage antics, manic call and response and a series of exploratory patterns. Still—no sweat. ‘Street Player’ was co-written by original Chicago drummer, Danny Seraphine, and David Wolinski, keyboard player for Chicago band Rufus. The song appeared on ‘Chicago 13’ in 1979. One of the few songs to lyrically depict emotional, urban challenges, ‘Street Player’ stood out, with its sweeping melody and unusual beat. Meanwhile, images of night life flanked the screen. The easy-going feel of ‘Just You ‘N’ Me’ was enhanced by flowing harmonies. I enjoyed the drum fills and the mysterious, undulating soprano sax solo, too. ‘Hard to Say I’m Sorry’ from ‘Chicago 16’ is another keyboard-driven classic with pleasurable, but discreet fills and a hummable melody. “After all that you’ve been through, I will make it up to you.” Couched in emotional telepathy and carried out eloquently, this arrangement bubbled over with gritty vocals and a funky beat as it morphed into ‘Getaway.’ For the immediately recognizable ‘Saturday in the Park,’ the audience pulled out lit-up phones, and sang along with the bouncy melody. The screen echoed image-filled lyrics with visuals of families enjoying ice cream socials. ‘In turn, Feeling Stronger Every Day’ echoed the happiness of ‘Saturday in the Park.’ This jazz-rock ensemble, which will grace 92 major cities this year, gave each musician a chance to glow. The encore included the wild, unabandoned ‘Free’ and the exuberant ’25 or 6 to 4.’ Perhaps physical Chicago will always be known as “the second city,” but the band which won 1969 “Best New Band” with the Grammys, with the same name, keeps it planted on a pedestal. Photos by Jim Summaria www.jimsummariaphoto.com

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