93XRT Welcomes: The Poi Memorial Day Double Header with Poi Dog Pondering
DJ Joe Bryl
Saturday, May 26, 2012
Doors: 8:00 pm / Show: 9:00 pmDouble Door
$25 - $50 - $75
This event is 21 and over
$25 - General Admission
$50 - Balcony VIP Package
(Balcony VIP seating includes:
signed poster, CD, & two complimentary drinks)
$75 - Deluxe VIP Package
(Main Floor VIP seating includes:
signed poster, CD, & four complimentary drinks)
Poi dog pondering formed in Hawaii in 1986. The first live performance was at the Honolulu Arts Academy. Filled with youthful imitative exuberance and inspiration from reading about Andy Warhol and the Velvet Underground's 'Exploding Plastic inevitable' projected film and music happenings, PDP projected films of lava eruptions, ocean and other natural environments over the band as they performed. The tradition of projected imagery along with PDP live performances developed and matured over the years and continues to this day thanks to long time film and video artist/collaborators Luke Savisky and Marco Ferrari.
In 1987 PDP's wanderlust drew them to the mainland where they embarked on a year long bohemian travel tour across the United States and Canada, playing acoustically on street corners for gas and food money, while sleeping outdoors all along the way. This experience forged Poi dog pondering's self identity & confidence as a "D.I.Y." entity.
PDP was signed to the noble boutique label Texas Hotel who released their first record in '88.
Sony / Columbia released the next 2 records "Wishing like a mountain..." & "VoloVolo".
PDP relocated to Chicago in '92 and formed their own label Platetectonic Music and released the critically acclaimed "Pomegranate" in '95. For the next ten years PDP delved heavily into developing their orchestration skills, culminating in major collaborations with the Grant Park Symphony Orchestra and the Chicago Sinfonietta (with PDP's Susan Voelz, Paul Mertens, Max Crawford & Frank Orrall doing the arrangements). Band leader Frank Orrall's interest in electronic music garnered him respect from the Chicago House/Electronic music community for his solo project 8fatfat8, and lead him to become a member of Thievery Corporation as percussionist and vocalist. All this influenced PDP's next 2 records "Natural Thing" and "In Seed Comes Fruit" which saw the band experimenting with electronic textures, beautiful lush arrangements and unhurried, sometimes instrumental song structures, letting musicality determine the song structure, rather than traditional "verse / chorus / bridge" style song writing.
In 2005 PDP combined all of it's experience together and set out to write and record "a straight up Rock and Soul record", complete with strings and horns. The result is "7". The band chose this title because it's their 7th record and because "it feels like a benchmark".
20 plus years down the line there is a bolstered sense of history within the band now. A swagger that comes from having steadfastly carved their own path. It is quite apparent that PDP has always been, and ever will be in it for the love of it; creating and performing. Line up changes are par for the course. PDP is an organic entity, it changes like life does. But there is a core with strong roots, open to new ears and ready to experiment. That's what keeps it vibrant.
Joe Bryl began the pursuit of his long and meandering career and craft as a nightclub DJ, musical director and audio curator in the early eighties at the New Wave dance venue Club 950 (aka The Lucky Number, named so for the pop-styled Lene Lovich song) which previously had the peculiar distinction to be the home of both a rough ‘n tumble biker bar, most famously as a converted coffeehouse called Alice’s Revisited where a who’s who of blues luminaries such as Muddy Waters, Charlie Musselwhite, Otis Rush, Sunnyland Slim, Buddy Guy, Junior Wells and Howlin’ Wolf performed (not to mention a every Tuesday gig by the local rock act Styx) and the Otok Island Lounge, a Croatian expat hangout who’s bar was peculiarly decorated in pine cones and which the 950 proudly retained.
It was there as a patron of the 950 and follower of DJ Michael Rytie (who still currently has a weekly residency at Big Chicks, Uptown´s popular gay and lesbian bar) that Joe Bryl was approached by its then bar manager Mark Clifton (and future roommate) to take over the Wednesday night spot due to his often obscene record purchases at trend-setting Wax Trax Records. Influenced equally by his excursions at the now-legendary punk bastion Le Mere Vipere and the free-form format of underground radio station TRIAD, Joe Bryl honed his style toward an eclectic mixture of diverse musical offerings that would range from wherever his current whims or fascinations took him. On any given evening Joe Bryl would treat his audience, and ultimately indulge himself, with music from the likes of The Velvet Underground, Al Green, Orange Skin, The Kinks, Bauhaus, Throbbing Gristle, Dinah Washington, Funkadelic, The Teardrop Explodes, James Brown, Joy Division, King Sunny Ade, The Fall, Scott Walker, Echo & the Bunnymen and Frank Sinatra.
After a decade at DJing at the Club 950, where he also designed many of their weekly ads and posters, curated special events and became adjunct musical director after the sad passing away from AIDS of Noe Boudreau (famous for his yearly event “A Eon of Eno by Noe at Neo”), Bryl continued his peculiar musical inclinations and journey with gigs at a wide-ranging group of hotspots including The Artful Dodger, The Lizard Lounge, Lower Links, The Avalon, China Club, Limelight, Oh La La, The Funky Buddha (where he acted both as DJ and manager), The Green Mill and Sinibar until with noted restaurateurs and bar owners Donnie Madia and Terry Alexander (who’s culinary empires include such well respected dining destinations as Blackbird, Mia Francesca, avec, The Publican, and Big Star besides such watering holes as Danny’s and the prestigious The Violet Hour) joined forces to form the soon-to-be influential Sonotheque.
It was at stylishly minimal and acoustically designed Sonotheque that Joe Bryl was finally able to fully spread his musical wings of twenty years of risk taking programming in the nightclub business. After close to a decade of nightly changing events Sonotheque’s roster included such musicians and DJs as Diplo, Kyoto Jazz Massive, Phil Cohran, Lady Sovereign, DJ Spinna, Fourtet, Kahil El Zabar, DJ Premier, Quantic, Aesop Rock, Peanut Butter Wolf, Ellen Alien, Bonobo, The Hood Internet, Pete Rock, A-Trak, Zizek, James Pants, Tommie Sunshine, Turntables On The Hudson, Watcha Clan and Francois Kevokian. It was also through Sonotheque that Joe Bryl was able to collaborate with various local and national trend setting creative individuals and residencies like Bass By the Pound, Africa Hi-Fi with Ron Trent and Sonia Hassan, Bombay Beatbox, Afrodisiac, Dark Wave Disco, Anthony Nicholson, Rik Shaw, Deeper Soul Productions, the Chicago World Music Festival, Stones Throw Records, Flosstradamus, Scion, Kate Simko and Lumpen.
It was through a fruitful and long collaboration with Lumpen and particularly Ed Marszewski (the creative catalyst and cultural provocateur of Proximity magazine, Version festivals, MDW Fair and the Bridgeport International) that Joe Bryl has continued refining his DJ impulses and since the closing of Sonotheque over two years ago has programed weekly events at Maria’s including his revolving “Global Soul” and the Brazilian-based “Impacto!” residencies besides thematic events that have focused on the music legacy of Miles Davis, Fela Kuti and Serge Gainsbourg, songs from the Prohibition, world psychedelic sounds, 45 funk nights, Euro-Disco house and even thrift store music. With his residencies at Maria’s, Joe Bryl has been joined with Tony Sarabia, host of WBEZ’s Radio M, Peter Margasak of The Reader, Frank Orrall of Poi Dog Pondering and Aaron Cohen of Downbeat Magazine.
After a two month hiatus in colonial Mexico, DJ Joe Bryl is coming back fully recharged, re-energized and inspired to continue his personal pursuit in highlighting rarely heard music from the often overlooked past and the newly emerging present. The “Revenge of the Gringo” is inspired of course by his recent travels down south and will focus on the diversity of Latin-tinged rhythms including fifties mambo and cha-cha, sixties Mexican, Peruvian and Argentine rock, Cuban-styled jazz, Nuyorican funk and to more recent excursions into Salsa, Cumbia, Reggaeton and Latin Electronica.
1572 N Milwaukee Ave
Chicago, IL, 60622