Saturday continued what is proving to be one of the most musical months of my life.  It stared with he regular schedule of classes and the Saturday Open Jam at the Armitage building of the Old Town School of Folk Music.  It’s November and there’s been a lot going one.  We might have been a little tired at the jam but we still got in a few rousing dances and welcomed Ariel, the newest fiddle teacher.

November 20 was also the night of the Old Town School of Folk Music Open House.  This is the second year of the event and is proving to be a highlight of the year.  There were over 50 free classes and jams. 

Lindsay and I hosted the Community Jam, which was kind of like the Gather-All or the Saturday jam, but really different at the same time.     Lindsay brings so much in terms of songs for singers.  She has a great ability to get people involved who aren’t playing an instrument.

I also invited some kids from my group guitar classes to lead some tunes and they all did great.  Those tunes were Blue Suede Shoes, Bile ‘em Cabbage Down, Shortnin’ Bread, Old Joe Clark and Snake Baked a Hoe Cake.  Lindsay lead a great song about a yodeling mountain man, The Welcome Table and a bluesy version of Old John the Rabbit that gets everybody “skit-skating” and “a-do-do-doing” along.

Maria lead a beginning fiddle class and Jonas co-hosted a room with some other teachers where students could try out a bunch of different instruments.  Jonas’ jug band also played on the main stage.  But I missed all of that because . . .

After the Community Jam I headed downtown to the House of Blues for the ¡ REVOLUCIÓN! Centennial Concert: Chicago Celebrates 100 Years of the Mexican Revolution.  This concert was an awesome surprise.  I missed all of the visiting acts like Mariachi de Real Guadalajara and my friends in Trio Ollín, but I got there just in time to catch the first set by Sones de México, who are great and are teachers at the Old Town School of Folk Music.  It was so cool to see them up on the big stage at the House of Blues.

The second set by Sones was the one to catch.  It featured a composition that Victor Pichardo, the groups musical director, and a huge influence on my interest in Mexican music, wrote inspired by the revolution.  It was very theatrical with a ton of dancing from the Mexican Folkloric Dance Company of Chicago, Mexican Dance Ensemble, and Ballet Folklórico Nacional de Victor Soria, an appearance of Emiliano Zapata and a ton of music by Sones backed by two vocalists, the Irish  Music School of Chicago and Victor García & the Chicago Afro-Latin Jazz Ensemble Horn Section. 



The music was fantastic.  It reminded me of third stream music, which is the name given to music that is a mix between classical and jazz.  But instead of jazz, it was folk music.  What an incredible, powerful sound.



My most treasured moment was hearing Guillermo Velázquez & Los Leones de la Sierra de Xichú.  Maria had told me of the legend of Guillermo.  I didn’t understand a word he said, but it didn’t matter.  The passion is what came through.  He played the lllorana like Neil Young plays the electric guitar and you couldn’t help but cheer at the end of his stanzas.  When the concert was over many people stayed chanting “¡Guillermo!  ¡Gillermo!”  Eventually he did come out and great some of his fans.  I was very glad to say, “Gracias” and shake his hand.



The night ended and I was happy to be as wore out as I was.  Sunday was going to be a big day, too, and I was so glad that even with all the excitement I was still able to fall sleep.

Hasta manaña,

Jason