Chicago

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Chicago

1967 - formed by 7 close friends from the "Windy City" ... the band initially went under the name The Big Thing

played Clubs in the Chicago area
- initially, as "The Missing Links," then "Big Thing"
college friend who had begun working at Columbia (L.A.), working successfully with BS&T, suggested they come to Los Angeles
- became the house band at Whiskey-a-Go-Go
- signed with Columbia as Chicago Transit Authority
  - released eponymous album (Chicago Transit Authority) in Spring 1969

Original Members

Robert Lamm - keys & vocals
Peter Cetera - bass & vocals
Terry Kath - guitar & vocals
Danny Seraphine - drums
Lee Loughnane - trumpet
James Pankow - trombone
Walter Parazaider - flute & saxes

Introduction (3 excerpts described below)

1:15 to 1:30 - meter changes (meter blurred - fast tempo, 6/8 measures alternate between 3+3 and 2+2+2 and dotted quarters in final 3/4 meter)

(91K)

actually, the beat subdivisions are as follows ...

3+3, 2+2+3, 2+2+2, 3+3, 2+2+3, 2+2+2, 3+3, 2+2+3, 2+2+2, ...

Understanding Complex Meter

As you watch the Shockwave video above, pay attention to the "red ball" object [] that moves consistently across the screen ... this represents the beat subdivisions.

You already know that the time signatures above (e.g., 6/8, 7/8, etc.) reveal the note duration that receives one beat (represented by the denominator; the bottom number of the fraction) and the number of beats per measure (represented by the numerator; the top number of the fraction). For example, in the meter "6/8," an eighth note receives one beat (notice that the denominator is "8") and there are six beats in every measure (notice that the numerator is "6"). In the following measure of "7/8," an eighth note still receives one beat, but it takes seven beats to make up one measure.

Using your understanding of basic math, you know that six is divisible by 2 and by 3. In this brief musical excerpt, the members of Chicago utilize this fact to full advantage. Notice how there is a series of 3 measures (6/8, then 7/8, then 6/8) that is repeated three times in a row. For clarification purposes, I have used brackets in the graphic above to show these measure groups. The first measure of 6/8 in each of these groups illustrates a triplet subdivision of two beats (3+3), while the third measure of each group uses a duple subdivision of 3 beats instead (2+2+2). The second measure of each group (in 7/8) is subdivided into three beats, but they are not all equal ... the first two are duple subdivisions while the third beat is a triple subdivision. Listen to this brief sound file over and over until you can follow the complex rhythmic organization of this musical excerpt.

2:27 to 4:09 - trombone & trumpet solo (notice dramatic change in feel preceding the trumpet solo, then back to rock style for guitar solo)
- almost sounds like straight ahead jazz during trombone, then pop trumpet melody
4:09 to 6:35 - guitar solo to end of song
- rock guitar solo, followed by horn section, brief drum solo, to closing vocal

Jazz-Rock blend

BS&T - tend to emphasize jazz elements
Chicago - tend to emphasize rock elements

Mayor Richard Daley sued because of the band's name!! (changed to Chicago)

1970 - released Chicago II

Make Me Smile (#9, 1970)

Colour My World (1971) (released as B-side of "Beginnings" [#7])

25 or 6 to 4 (#4, 1970)
1971 - Chicago IV
- 4-record set, containing live recordings from Carnegie Hall
1972 to 1975 - amazing series of 5 consecutive #1 albums Chicago V thru Chicago IX
- such commercial success was matched or succeeded only by the Beatles, Elton John, & Paul McCartney!!

Saturday in the Park (#3) from Chicago V (1972)

only personnel change to this point was the addition of percussionist (Laudir de Oliveira from Brazil) just prior to Chicago VII
Chicago VII (1974) is a particularly interesting album
- diverging from typical sound
- light electronic experimentation (ARP synth & Mellotron)

Prelude to Aire (beginning)

note Mellotron (at 1:01) following bongo, tom-tom, & flute intro

Aire

7/8 to 7/4 - obvious change (at 2:16), cutting tempo in half

(218K)

Devil's Sweet (2 excerpts described)

duet for soprano sax & flugelhorn
- over chords built on 4ths (unusual harmonies)
3/4 over 2/4
- listen to the interesting brushwork in percussion, bass in triple meter; snare in duple!!
Italian from New York
- timbre - bongos & ARP synth sequence
- harmony - chords built on 4ths
- meter - 5-beats per measure
(235K)

Mongonucleosis

strong Latin-rock piece ... reminiscent of Santana

(I've Been) Searchin' So Long (#9)

starts calmly, builds to climax (strings, bass, strong bass line)

Wishing You Were Here (#11)

with the Beach Boys on background vocals

Like Jefferson Airplane, the sound of Chicago changed dramatically in the 1980s, as they continued to experience significant success ...

Hard to Say I'm Sorry (#1, 1982)

Stay the Night (#16, 1984)

Hard Habit to Break (#3, 1984)

Along Comes a Woman (#14, 1985)

You're the Inspiration (#3, 1984)

25 or 6 to 4 (re-recorded in 1990)
on Chicago 18

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