One of 2025’s most adventurous album releases, which can be classified as ‘Global Music’ with a decidedly ‘Windy City’ spin, is Sanctuary by the Chicago Immigrant Orchestra.
The Chicago Immigrant Orchestra, originally founded in 1999 by the Chicago Department of Cultural Affairs and Special Events, emerged as a vibrant expression of the city’s rich musical diversity until the end of its initial run in 2004. Helmed at the time by Willy Schwartz, the orchestra brought together musicians from Chicago’s immigrant communities, showcasing a global array of musical traditions. Though its initial run ended after 5 years, its influence lingered, leaving an indelible mark on the local music scene.
In 2019, a new chapter unfolded when the Chicago Department of Cultural Affairs and Special Events enlisted guitarist Fareed Haque (Blue Note Records, Garaj Mahal) and oud player Wanees Zarour to revive the orchestra for the 2020 Chicago World Music Festival. Despite the challenges posed by the global COVID-19 pandemic, the orchestra persevered, delivering a lauded virtual concert in September 2020.
Today, the rejuvenated Chicago Immigrant Orchestra comprises a 20-piece ensemble drawn from Chicago’s immigrant communities, representing an eclectic mix of musical heritages from across the globe. Under the artistic direction of Haque and Zarour, musicians hailing from the Far East to Western Europe, Africa, and the Americas collaboratively shape the orchestra’s musical narrative.
Embracing a fresh perspective, the New Chicago Immigrant Orchestra delves into the interplay between diverse musical traditions, weaving a rich tapestry that celebrates both their shared connections and distinctive differences.
The album Sanctuary, the title of which is a nod to Chicago’s status as a ‘Sanctuary City’ but can also be construed as offering a spiritual refuge through sound, opens with “Altai Folk Song,” and the mix of Eastern and Western is apparent from the opening notes and unfolding motifs: Spanish Guitar, Horse Hair Fiddle, Veena, and Tuvan throat singing are all blended into a track that builds in momentum and dizzily reaches for the rafters.
The album’s second track, “Khoocheh Chin,” slows things down a bit and is a spotlight for Persian vocalist Sam Taheri, while the exuberant “Merci Bon Dieu” pairs Fareed Haque’s masterful guitar work with Ugochi Nwaogwugwu’s soulful vocals.
Further along, “Suld” features Tamir Hargana’s hypnotic and masterful throat singing while “Bianca” is relatively subdued but no less mesmerizing.
“Al Maya” is a fine instrumental workout that weaves ruan (a traditional Chinese plucked string instrument), acoustic guitar, and various percussive instruments into a rich tapestry, while “Hezar Dastan” again brings vocalist Sam Taheri to the fore.
Sanctuary closes with the simply tiled “Folk Song,” but the music is anything but simple: various melodies are interwoven but the track never comes off as too busy. Like the album overall, it is skillful, joyous, and celebratory.
