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Chicago Jazz Mandolin Means Stiernberg
Chicago Jazz Mandolin Means Stiernberg
Date Posted: May 21 2010
Written By: Randy Freedman
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When I first read that the new Chi-Town Jazz Festival would be held at clubs in the Chicago area in support of charities helping the hungry and others in need, I had already promised myself to attend.
But when I learned that opening night would be Tuesday, March 16, at the exciting S.P.A.C.E. venue featuring preeminent jazz mandolinist Don Stiernberg—leading a quartet of other highly regarded jazz veterans, including Larry Harris on piano, Curt Bley on bass, and Phil Gratteau on drums––I bought my ticket early, correctly anticipating there would be strong demand.
A couple of years ago while in conversation with a well-traveled Chicago bass player about his schedule for the week, he mentioned to me that he had a gig approaching that would involve mandolin.
I asked about Stiernberg. He leaned back in his chair and said with conviction, “Well, if you are talking about jazz mandolin in Chicago, you are talking about Don Stiernberg. And if you are talking about the very best jazz mandolin, then you are talking about...well...Don Stiernberg.”
Stiernberg has been a prolific and versatile musical presence on the Chicago music scene for several decades, working as a sideman on numerous recording sessions as well as live performances in a variety of musical styles.
In addition to the mandolin, for which he is best known (as a protege of legendary mandolin player and humorist Jethro Burns of “Homer and Jethro” fame), Stiernberg also plays guitar and other stringed instruments, and can sing. With national exposure on NPR radio for his 1999 jazz album About Time, Stiernberg has since concentrated more fully on jazz and the mandolin. Stiernberg is a faculty member of the Mandolin Symposium and writes the jazz column for Mandolin Magazine.
Soon after his band had taken the stage that evening at S.P.A.C.E., Stiernberg warmed up the audience with a bit of his irreverent but very likable humor and charm, including some remarks undoubtedly passed down to him by Burns, and still pleasing audiences to this day. Musical highlights included a lustrous “Where or When,” which featured a sweet Bley bass solo and gave Gratteau the opportunity to showcase his creativity, while still accompanying Stiernberg with sensitivity.
Stiernberg lent his humor and vocals to the novelty song “I Don’t Want Love,” and thrilled the room with his “gypsy jazz” style of mandolin on his original tune, “Donnybrook.” Another original tune by Stiernberg, a slice of seventies funk called “Windshield Wipers,” required Stiernberg to bring out his electric mandolin for a louder, edgier sound, and gave Harris the chance to step out on piano without overpowering Stiernberg.
If you have never had the pleasure hearing Stiernberg (or perhaps anyone) play jazz mandolin, there may yet be doubt in your mind about how well this instrument blends in as a vital part of a small jazz group. If so, you will be surprised at how tight, cool, and charming Stiernberg’s mandolin performance really is. Instead of wondering how well the mandolin fits in, you may well wonder how other jazz groups can manage without one.
For more information contact:
donstiernberg.com or evanstonspace.com.
Chicago freelance writer Randy Freedman is a jazz connoisseur, photographer, food critic, humorist, and devoted music fan. He is a regular contributor to Chicago Jazz Magazine.
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