The Jazz Beat — June
Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss jazz events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: JazzBeat@musiccityreview.com
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Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss jazz events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: JazzBeat@musiccityreview.com
This Month’s Highlights
Celebrate Music City: Latin Music Festival – Sunday, June 1 – 12:00-6:00 PM (FREE) (New Heights Brewing)
In the latest in the Celebrate Music City festival series, New Heights Brewing will host a Latin Music Festival, honoring the rich Latin culture present here in Nashville. Though not strictly jazz, Latin music and jazz have always been close cousins, so any jazz enthusiast will enjoy this festival. Performances will include Marrocko, Marcela Pinilla & Isaac Eicher, Rachel Rodriguez, and Middle Season. There will also be free dance lessons, as well as local and regional artisan craft vendors and food trucks.
Matt Rollings Trio – Sunday, June 1 – 6:00 PM ($17) (Rudy’s)
Session-playing all-star pianist Matt Rollings leads a trio featuring Keith Carlock on drums and Viktor Krauss on bass. Based in Nashville since 1986, Rollings is also a two-time Grammy-winning record producer, and has been nominated for several other Grammy’s as well. Throughout his industrious career he has performed on more than 1500 records for artists like Willie Nelson, Eric Clapton, Mark Knopfler, and many more.
The Cat Empire – Tuesday, June 3 – 8:00 PM (Basement East)
Australian jazz/funk band The Cat Empire makes a stop in East Nashville at the Basement East. With roots that can be traced back to 1999, the band has been steadily releasing albums since 2003, and they have been highly acclaimed for their performance and musicianship. Their music also mixes in influences of ska, rock, and Latin music.
Jeff Hamilton Trio – Saturday, June 7 – 7:30 PM ($50) (NJW)
Highly sought-after drummer Jeff Hamilton brings his trio to the Cave. Known for his versatility and originality, Hamilton has had a long and successful career which includes playing with the late great pianist Oscar Peterson, and forming the Clayton-Hamilton Jazz Orchestra. With over 200 recordings credits to his name, Hamilton has collaborated with a wide array of artists, including Natalie Cole and Diana Krall.
Charlie Musselwhite Duo – Friday, June 13 – 7:30 PM ($50-75) (City Winery)
One of the original blues musicians, Charlie Musselwhite was there cutting his teeth with blues legends like Muddy Waters and Howlin’ Wolf from the South Side of Chicago to Memphis to California. He has a storied career of more than five decades, and in that time he has become a master blues storyteller. With more than twenty albums under his belt, Musselwhite is a Grammy-winning artist, and also has more than 33 Blues Music Awards to this name.
Naama Quartet: Dream with Me (2 shows) – Friday, June 13 ($22) $ Saturday, June 14 ($24) – 8:00 PM (Rudy’s)
The Naama Quartet, led by its namesake NYC vocalist Naama, returns to Rudy’s for two shows, this time to celebrate the release of her latest album, Dream With Me. Naama’s voice has been praised as one that “evokes a honeyed warmth” and “drifts into a pillow of dreams” (DownBeat). As the name might suggest, her new albums explores the world of dreams, inspired by their inherent imagination and emotion.
Colombian Fire: Tres Raíces – Indigenous, African, Spanish – Saturday, June 14 – 7:30 PM ($20) (West End UMC)
Continuing with the theme of Latin music, this special stage performance explores the rich and diverse cultural roots of Colombia, highlighting its combination of Indigenous, African, and Spanish cultures. The performance will feature traditional costumes, live percussion, and vibrant choreographies, providing the audience with an authentic glimpse into Colombian culture.
The Jordan Perlson Trio – Friday, June 27 – 11:00 PM ($10) (Rudy’s)
If you pay close attention to this newsletter, you will know how integral drummer Jordan Perlson is to the Nashville jazz scene, performing with an extensive list of artists and bands around town. His talent isn’t just confined to Music City, though. He has performed and recorded with a long list of artists across the country, as well, with over one hundred recording credits to his name. For this performance at Rudy’s, Perlson will step into the bandleader role as he leads his own trio.
Analog at Hutton Hotel
Analog Soul (multiple shows) – Every Sunday (except June 29) – 7:00 PM (Free GA / $20 reserved seating)
The Analog continues its Analog Soul series, featuring some of the city’s most promising emerging talent who are redefining soul music. All shows feature Will Davenport and DJ Smoke. These shows are 21+.
Sarah Aili Presents Sinatra at the Sands – Thursday, June 12 – 8:00 PM ($10 GA / $25 reserved seating)
Returning to the Analog is Sarah Aili, a multi-form artist known for her work in music, theater, and storytelling. She can be found performing on stages all across Music City, and now she brings to the Analog a night of timeless American Songbook classics.
The Sofia Goodman Group – Monday, June 16 – 8:00 PM ($15 GA / $25 reserved seating)
The widely acclaimed group led by drummer and composer Sofia Goodman performs. Goodman has been highly praised both for her performance and her skills as a composer and arranger. DownBeat magazine referred to her work as “mesmerizing and compositionally rich” and All About Jazz called her a “splendid composer and drummer.”
Arrington Vineyards
With the warming weather Arrington Vineyards is bringing back their musical offerings in force. Every weekend you’ll be able to catch live jazz here, at both the Hillside Stage and on the Lawn. You can always find some of Nashville’s top jazz talent here, and this month is no exception. I’ve listed the acts appearing below.
Jazz on the Hillside
Jazz on the Hillside
Sunday, June 1 – 1:00-5:00 PM – The Lilliston Effect
Friday, June 6 – 4:30-8:30 PM – Art Four Sale
Saturday, June 7 – 3:00-7:00 PM – The Lilliston Effect
Sunday, June 8 – 1:00-5:00 PM – Triple Dare Jazz Band
Friday, June 13 – 4:30-8:30 PM – San Rafael Band
Saturday, June 14 – 12:00 PM (Coinciding with Crawfish Festival) – The Accords & Andrew Carney Quartet
Sunday, June 15 – 1:00-5:00 PM – The Lilliston Effect
Friday, June 20 – 4:30-8:30 PM – Art Four Sale Band
Saturday, June 21 – 3:00-7:00 PM – The Lilliston Effect
Sunday, June 22 – 1:00-5:00 PM – Triple Dare Jazz Band
Friday, June 27 – 4:30-8:30 PM – TBD
Saturday, June 28 – 3:00-7:00 PM – 9 Volt Romeo Band
Sunday, June 29 – 1:00-5:00 PM – Art Four Sale Band
Jazz on the Lawn
Sunday, June 1 – 1:00-5:00 PM – Andrew Carney Quartet
Saturday, June 7 – 3:00-7:00 PM – 9 Volt Romeo Band
Sunday, June 8 – 1:00-5:00 PM – Josh Karas Trio
Saturday, June 14 – 1:00-5:00 PM – The Lilliston Effect
Sunday, June 15 – 1:00-5:00 PM – 9 Volt Romeo Band
Saturday, June 21 – 3:00-7:00 PM – 9 Volt Romeo Band
Sunday, June 22 – 1:00-5:00 PM – The Lilliston Effect
Saturday, June 28 – 3:00-7:00 PM – Miles Damaso Group
Sunday, June 29 – 1:00-5:00 PM – Andrew Carney Quartet
City Winery Nashville
Nashville’s City Winery is a beautiful venue that consistently features top-talent acts that span genres from Jazz to Americana to Hip Hop. The below performances showcase a mix of several genres, but will certainly be of interest to any jazz audience. Enjoy these concerts accompanied by a stellar selection of wine and delicious bites.
Main Stage
Charlie Musselwhite Duo – detailed above
Boney James (2 sets) – Tuesday, June 17 – 6:00 PM & 9:30 PM ($85-105)
Saxophonist, composer, and producer Boney James comes to City Winery for two shows in promotion of his latest album, Slow Burn, released in the fall of last year. It is James’s nineteenth record, and among his many accolades over his career are four Grammy nominations, three NAACP Image Award nominations, and four RIAA Gold Record certifications, among others.
The Nashville Jazz Workshop
Moving on to Music City’s other great jazz venue, the Jazz Cave at the NJW is a venue with world-class acoustics, which consistently ranks in Downbeat Magazine’s list of Great Jazz Venues in the world. Tickets can be purchased through the Workshop website.
Jazz Cave
Jazz on Buchanan: Concurrence – Thursday, June 5 – 5:30 PM (FREE)
In the first of the NJW’s free concert series, the duo Concurrence brings their experimental improvisation to the Cave. Concurrence consists of pianist/keyboardist Paul Horton (Brittany Howard, Alabama Shakes) and bassist/broadcaster Greg Bryant, who come together to create a highly improvisational music duo but also a research collective. The band’s newest project, Indivisible, focuses on an overlooked era of American history, the creation of the Interstate system, which with all its successes also irrevocably altered Black and Brown communities across the country.
Chris Walters – Friday, June 6 – 7:30 PM ($35)
Acclaimed pianist and composer Chris Walters returns to the Cave, presenting an evening of his original music, ranging from high-energy swing and modern jazz to film noir-inspired mood pieces. He will also present the first two movements of his original piano concerto, re-imagined for a small-group setting. His band will feature top Nashville talent, including Dan Hitchcock on tenor sax and clarinet, Jack Aylor on bass, and Chris Brown on drums.
Jeff Hamilton Trio – detailed above
Mike Seal Jazz Guitar Masterclass – Sunday, June 15 – 2:00-4:00 PM ($50)
Two-time Grammy-nominated guitarist Mike Seal gives a special jazz guitar masterclass in the Cave. Seal is an in-demand guitarist, having performed on dozens of records and toured the world with a long list of artists. His work can be heard with the Jeff Coffin Mu-tet, the Jerry Douglas Band, the Viktor Krauss Group, and many more. Topics covered in the class will include functional music theory, ear training and development, and technique building.
Jazz on Buchanan: Katie Blomarz-Kimball – Thursday, June 26 – 5:30 PM (FREE)
In the second of these free concerts this month, bassist Katie Blomarz-Kimball performs. Known for her versatility, she has performed across genres, including everything from folk and Western swing to Americana and jazz. She is the newest member of the Grammy-nominated bluegrass band Sister Sadie, and she has performed on some of music’s most iconic stages.
John Arruci Trio w/ Jon Cowherd & Viktor Krauss – Friday, June 27 – 7:30 PM ($35)
After a successful debut as leader on vibraphone the last time he performed at the Jazz Cave, percussionist John Arruci now returns, this time leading his trio from the drumset. He will be joined by jazz powerhouses Jon Cowherd on piano and Viktor Krauss on bass.
Rudy’s Jazz Room
And now we move on to Nashville’s premier jazz club, with its cozy, intimate setting. I’ll start with some of the unique highlights for this month, then follow up with the great regular acts performing. Please note that some shows are one dollar cheaper if you purchase advance tickets. I have listed the door price for all shows.
Rudy’s Highlights
Below are the performances for this month that I’ve picked out as the real can’t-miss shows, some featuring touring artists from out of state, others featuring local artists giving specialized, unique performances. With the new year there are many new faces and new combinations appearing at Rudy’s this month, so now is the perfect time to catch a great new show!
Matt Rollings Trio – detailed above
Ryan Middagh – Wednesday, June 4 – 6:00 PM ($14)
Saxophonist, composer, arranger, band leader, and educator extraordinaire Ryan Middagh performs. Middagh is a Nashville mainstay, teaching at Vanderbilt University and leading the Ryan Middagh Jazz Orchestra, featuring some of Nashville’s finest musicians playing many of Middagh’s innovative compositions and arrangements. His album Live From Nashville is a Global Music Award recipient.
Rougarou 6-Piece New Orleans Brass Band – Thursday, June 5 – 9:00 PM ($14)
Continuing its running “SINdustry night” series on the first Thursday of the month, this New Orleans-style brass band returns to Rudy’s to showcase the club’s Cajun roots. Led by New Orleans native Chris Walters on piano, this band offers as authentic a brass band experience you can find without traveling to the French Quarter. Service industry workers with some form of proof of their employment will receive half off the door price and half price draft been.
Sarah Jane Nelson – Friday, June 6 – 5:30 PM ($20)
Vocalist Sarah Jane Nelson combines influences from country, jazz, blues, and musical theater for a unique voice that has earned her descriptions as a “knock-‘em dead singer,” “sultry jazz goddess,” and “a first rate singer”.
MF Art of Listening – Friday, June 6 – 8:00 PM ($22)
This highly improvisational group makes its return to Rudy’s, led by drummer Marcus Finnie, who has assembled a highly talented group of musicians to create this unique experience. Finnie himself has toured the world with a host of artists, including Keb’ Mo’, Taj Mahal, Donna Summer, Billy Preston, and many more.
Eli Ibrahim Quintet – Friday, June 6 – 11:00 PM ($10)
Pianist Eli Ibrahim and his quintet perform, exploring the rich intersection of blues and jazz.
Jimmy Sullivan’s Swingin’ Scene – Saturday, June 7 – 5:30 PM ($16)
One of Nashville’s most exciting jazz bassists, Jimmy Sullivan, takes the early Saturday set for a selection of hard-swinging jazz. If you’re a frequenter of Rudy’s, you’ll probably recognize Sullivan from his bi-monthly residency here on Sundays. Over his illustrious career he has performed with top jazz talents like Laila Biali, Nicole Zuraitis, Joel Frahm, and many more.
Alex Murphy w/ Brian Brown & Jarren Blair – Saturday, June 7 – 11:00 PM ($10)
Rising star pianist Alex Murphy performs in a trio setting with Brian Brown and Jarren Blair.
Lindsey Miller Quartet – Sunday, June 8 – 6:00 PM ($12)
Guitarist Lindsey Miller returns to Rudy’s leading a quartet featuring Chris Walters on keys, Jimmy Sullivan on bass, and Josh Hunt on drums. Miller has been a steady session and touring guitarist across a wide array of genres. Based in Music City since 2012, she has toured with artists like Brett Eldredge and Kevin Max, and performed on records for Brian Blade, Dennis Chambers, and more.
Joshua Constantine Quartet – Monday, June 9 – 6:00 PM ($12)
Saxophonist Constantine is a former member of Grammy-nominated UNT One O’Clock Lab Band, and student of world-renowned saxophonist Brad Leali. Currently an active performer and educator in Nashville, Constantine tends to pay homage to the classic giants of jazz, honoring composers and performers like John Coltrane, Thelonius Monk, Wayne Shorter, and more. His band features Sam Smith (bass), Michael Green (drums), and Dan La Maestra (piano).
Kyle Cox, Abigail Flowers & Tabitha Meeks: New Jazz for Old Souls – Wednesday, June 11 – 6:00 PM ($15)
These three top vocalists and songwriters present an evening of original vocal jazz works, with Katie Blomarz-Kimball on bass, Will Padgett on piano, Ian Stronbino on drums, and Dan Hitchcock on saxophone and clarinet.
Bruce Dudley Quartet: Music from Underground & Nefertiti – Thursday, June 12 – 9:00 PM ($15)
Bruce Dudley is an accomplished and acclaimed jazz pianist who is a Steinway Concert Artist and has been performing jazz for over forty years with many recording credits to his name, both as sideman and bandleader. In this special concert, Dudley’s quartet, featuring Don Aliquo (sax), Jack Aylor (bass), and Ryan Brasley (drums), will present music from two specific landmark jazz albums, Thelonius Monk’s Underground and Miles Davis’s Nefertiti.
Naama Quartet: Dream with Me (2 shows) – detailed above
Andrew Carney and the Essentials – Friday, June 13 – 5:30 PM ($14)
Acclaimed trumpeter and flugelhornist leads his band the Essentials. Carney has been playing both instruments professionally since he was fifteen, and in addition to his impressive performance chops, he is also a composer, songwriter, arranger, and educator, and his music has been featured in commercials for Google, Nutra Systems, the LA Times, and more.
Steve Pardo Quartet – Saturday, June 14 – 5:30 PM ($16)
Acclaimed videogame composer Steve Pardo leads an eclectic modern jazz quartet with Pardo on saxophone and FX, Jonathan Rogerson on guitar, Jon Estes on bass, and Mark Raudabaugh on drums. Blending traditional jazz music with the contemporary videogame music landscape, this should make for an interesting performance!
Marc Payne Quartet – Saturday, June 14 – 11:00 PM ($10)
One of Nashville’s most talented up-and-coming pianists Marc Payne will lead his trio. Payne has been praised for his diversity and wide knowledge of many jazz styles. He has spent his life in Nashville soaking up many different sounds and styles, and this diversity comes through in his masterful playing.
sd Murphy: Exploring the Piano Trio – Monday, June 16 – 6:00 PM ($15)
Pianist Alex Murphy brings his trio for the next installment of his Exploring the Piano Trio series, focusing on the tradition of this group format specifically.
Juneteenth w/ MF Art of Listening – Thursday, June 19 – 9:00 PM ($15)
Described above, Marcus Finnie’s band plays a special concert in celebration of the Juneteenth holiday.
Andy Reiss Quintet – Friday, June 20 – 5:30 PM ($15)
Grammy-winning guitarist Andy Reiss leads a stellar quintet of some of Nashville’s top musicians, including Roland Barber (trombone), Dan Hitchcock (reeds), Roger Spencer (bass), and Chris Brown (drums). Reiss, a member of the Time Jumpers, is a prolific recording session musician in Nashville, having recorded with greats like Slim Pickens, Pig Rofbbins, and Rebe McEntire, among others. His long career and life in music has given him a wide range of influences, from Jimi Hendrix and the Grateful Dead to Charlie Christian and Joe Pass.
Jon Cowherd w/ Ryan Scott, Mike Elizondo & Aaron Sterling – Friday, June 20 – 8:00 PM ($21)
NYC-based pianist Jon Cowherd leads a quartet to showcase his original compositions. Cowherd has worked with an extensive roster of artists, players, and singers across the jazz, pop, and rock genres. In addition to his longtime collaboration with drummer Brian Blade and his band the Brian Blade Fellowship, Cowherd has also released several albums under his own name, featuring his innovative original works.
Daniel Kuk Trio – Friday, June 20 – 11:00 PM ($10)
Daniel Kuk is a young up-and-coming pianist who, as you can tell from other lineups listed in this newsletter, is already making waves in the scene and proving himself in-demand. He has lived in Nashville most of his life, and started studying music at a very early age. His major influences include Bill Evans, McCoy Tyner, and Bud Powell. His trio will feature Baily Johnstone on bass and Kirk Woodward on drums.
Shaun Munday – Saturday, June 21 – 5:30 PM ($12)
Bassist Shaun Munday returns to the Rudy’s stage with his full band. Munday has studied and performed with some of the industry’s greats, including John Mayer, Esperanza Spalding, and Antonio Sanchez, among others.
Jerome Degey & Friends – Sunday, June 22 – 6:00 PM ($15)
Guitarist Jerome Degey returns to Rudy’s. Originally from Paris, France, Degey has a family history that is both French and Afro-Caribbean, and his wide geographical influences come out in his unique style of playing. He has collaborated with a wide array of artists, including Jonathan Edwards, Duffy Jackson, Daniel Levy, and many more.
Wendy Burns & Paul Childers “Jazz’s Greatest Duets” Encore Show – Thursday, June 26 – 9:00 PM ($18)
This popular show returns to Rudy’s. Burns is a jazz vocalist and flutist who specializes in songs from the 1940’s Big Band era. Childers is a vocalist and guitarist who manages to blend the styles of Jimi Hendrix on guitar with traditional jazz vocal melodies.
An Intimate Evening with LaLa Deaton – Friday, June 27 – 5:30 PM ($16)
Eclectic Nashville vocalist and songwriter LaLa Deaton leads her band playing a mix of jazz standards and her original music, which spans the pop, country, and jazz genres. She has released four studio albums, all of which have received high praise and awards.
Pascal’s Triangle w/ Special Guests – Friday, June 27 – 8:00 PM ($20)
Pascal Le Boeuf is a Grammy-nominated composer, pianist, and electronic artist who embraces modern technology and contemporary movements in his music. Pascal’s Triangle is a genre-bending group that features Linda June Han Oh on bass and Justin Brown on drums. This performance will also feature several special guests.
The Jordan Perlson Trio – detailed above
Lisa Stewart And Her Jazz Combo – Saturday, June 28 – 5:30 PM ($16)
Lisa Stewart has been praised as having “impressively eclectic musical chops” and an “honest, genre-spanning affection” for her music. Her combo will featuring Alex Murphy on piano, Jack Aylor on bass, and Ryan Brasley on drums.
Rudy’s Regulars
Re-Evolution – Mondays, June 2, 23, & 30 – 6:00 PM ($12)
This five-piece band is heavily influenced by classic jazz cutting-edge artists like Thelonius Monk, Wes Montgomery, John Coltrane, Bill Evans, and more. The band consists of Brian Cornish on saxophone, Regi Wooten on bass, Daryl Johnson on drums, Adam Charney on guitar and Alex Murphy on piano.
Don Aliquo (multiple performances)
One of Nashville’s most active and accomplished saxophonists, Aliquo will be leading performances several times this month, both in trio and quartet format.
Don Aliquo Quartet – Saturday, June 7 – 8:00 PM ($20)
Don Aliquo Trio (multiple shows)
Friday, June 13 – 11:00 PM ($10)
Saturday, June 21 – 11:00 PM ($10)
Sully’s Swingin’ Sunday Supper – Sunday, June 15 – 6:00 PM ($12)
Every other Sunday, Rudy’s features a Sunday dinner, with one of Music City’s top bassists Jimmy Sullivan leading a swingin’ jazz band featuring rotating special guests, for which a unique dinner special is served just for the show.
Bizz Bigsby – Wednesday, June 18 – 6:00 PM ($15)
Nashville native Bizz Bigsby shares his very personal music which tells the story of his life, influenced by everyone from Bill Withers to George Jones to James Taylor.
Pat Coil Quintet – Saturday, June 21 – 8:00 PM ($22)
All-star Nashville pianist Pat Coil returns with a quartet performances, though both of these will feature a special guest guitarist performing with the trio. As you all probably know by now, Coil is a highly in-demand pianist in Nashville and just about everywhere else, having toured extensively both nationally and internationally. This quintet performance will feature Mark Douthit (guitar), Barry Green (trombone), Brian Allen (bass), and Wes Little (drums).
Dana Robbins Quintet – Wednesday, June 25 – 6:00 PM ($12)
GRAMMY-winning saxophonist Dana Robbins pays tribute to the Soul Jazz sound of the late 60’s and early 70’s, celebrating artists such as Les McCann, Eddie Harris, Jimmy Smith, and more. Robbins has either recorded or performed with many artists, including Keb’ Mo’, Aretha Franklin, Taj Mahal, Keith Urban, and more. Her band features David Santos (bass), Wes Little (drums), Phil Hughley (guitar), and Darius Mines (piano/B3 organ).
Jody Nardone Trio – Saturday, June 28 – 8:00 PM ($28)
Prominent Nashville pianist Jody Nardone brings his trio to Rudy’s for a classic jazz set. With a growing national reputation, Nardone seamlessly shifts from the “whispered beauty of Bill Evans to the percussive flights of McCoy Tyner.” (Michael McCall, Nashville Scene)
Geoff Pfeifer Quartet – Saturday, June 28 – 11:00 PM ($10)
Playing a mix of Wayne Shorter tunes and originals, Geoff Pfeifer brings gritty, edgy, genuine NYC-style jazz to Rudy’s stage with his Quartet.
Stephanie Adlington – Sunday, June 29 – 6:00 PM ($15)
Another frequent visitor to the Rudy’s stage, award-winning vocalist, songwriter and vocal coach Stephanie Adlington is known as the “Siren of the South,” with an “unrivaled” take on the Great American Songbook.
Regi Wooten & Friends – Every Wednesday – 9:00 PM ($15)
Coming from a distinctly talented musical family, Regi Wooten is one of the most innovative and dynamic musicians on the scene today, pushing the boundaries of the traditional genres. Equally at home playing Hendrix as Wes Montgomery, Wooten assembles a group of some of Nashville’s best musicians to offer a night steeped in funk, jazz, soul, blues and rock.
Giovanni Rodriguez & 12 Manos – Every Monday – 9:00 PM ($15)
A favorite on the Nashville Latin and jazz scene, multi-instrumentalist Giovanni Rodriguez presents an electric night of salsa, along with his band consisting of Rodriguez (timbales/vocals), Melvin Macias (piano/vocals), Yosvany Cordero (congo/bongo), Michael S. Morton (flute/vocals), and Isoel Villarrubia (bass).
Hot Club Gypsy Jazz – Every Thursday – 6:00 PM ($12)
Every Thursday night, Rudy’s honors its New Orleans and French roots by celebrating the vibrant music of Gypsy Jazz. These nights feature a variety of small groups either led or curated by New Orleans native Brook Sutton, all performing music in the style of the great Django Reinhardt and Stephane Grapelli. The bar will feature French Quarter-inspired cocktails as well as gumbo and beignets. Come out for as authentic a night as you can get without a trip to the French Quarter.
Rudy’s Jazz Jam – Every Sunday – 9:00 PM ($10)
I couldn’t make a list of Rudy’s events without including a shout-out for the regular weekly Jazz Jam the club hosts every Sunday night. Whether you are a jazz musician and you want to jam with your fellow artists, or you just want to come and enjoy what the local talent has to offer, the Jazz Jam is a great way to end your weekend.
The Underdog Nashville
Jack Ruch and Adam Wakefield Trio – Every Thursday– 7:00 PM ($10)
Jack Ruch returns this month with his organ trio, a classic jazz format.
Guthrie Trapp Trio – Every Monday (except June 2) – 8:00 PM ($10)
One of Nashville’s preeminent guitar talents will perform several times at the Underdog. More blues and country than jazz, Trapp’s intricate and highly technical guitar playing will surely interest those who love the technicality of jazz music. His trio features Jordan Perlson on drums and Tim Marks on bass.
Corey Congilio – Friday, June 13 – 8:00 PM ($10)
Guitarist and music educator extraordinaire Corey Congilio once again returns to the Underdog. I personally have always admired his playing, and this should be a great show!
Regular Nashville Hangs
Bohemia After Dark: Live Jazz Band with Andrew Golden – Every Monday – 8:00 PM (Old Glory)
Tuesday Bluesday w/ Shantelle & The Juke Joint Band – Every Tuesday – 6:30 PM (Rawhides)
Weekly blues night with a different special guest each week.
Dinner & A Show – Live Jazz Band – Every Friday – 7:00 PM (Flamingo Cocktail Club)
Living Room Sessions – Every Friday & Saturday – 8:00 PM (W Nashville Hotel)
Regular weekly showcase featuring local indie, jazz, funk, and R&B bands.
Eastside Jam – Every Sunday – 9:00 PM (Inglewood Lounge)
This is not a traditional jazz jam playing standards, but rather an improv jam, but any jazz player or listener will still be interested!
Live Jazz at Wilburn St. Tavern – Tuesday Evenings
Nightly Jazz at Skull’s Rainbow Room
Nightly Jazz at Sinatra Bar & Lounge
Live Jazz at Skye Lounge – Every Friday & Saturday – 7:30 PM
NJW at Char Steakhouse – Evenings and Sunday Brunch
Lizard Boy Coming to the Barbershop Theater
Street Theatre Company’s final show of the season is the regional premiere of the Off-Broadway indie-rock musical Lizard Boy: Trevor has become a myth in his hometown: a lonesome outsider dubbed the “Lizard Boy of Point Defiance.” As a child, a strange encounter with a dragon turned his skin green and scaly. Now, ashamed of his appearance, he leaves his home only one day each year – on Monsterfest, the anniversary of the incident. Nervously, Trevor agrees to a night out with a new date, Cary, and the two meet Siren – another survivor of the dragon encounter who insists the dragons will return and begs Trevor to join her and fight them. Can Trevor accept himself and face the dragons? Will he save his city…and his first date?
Street Theatre Company will perform Lizard Boy June 13-28 at the Barbershop Theater. For tickets and more information, click here.
A Thousand to Say Goodbye to Guerrero
Over the weekend, the Nashville Symphony performed Gustav Mahler’s epic Eighth Symphony and heralded in the end of an era. Known as the “Symphony of a Thousand” and scored for multiple choirs, a huge orchestra, and no fewer than eight soloists, Mahler’s 8th is one of the grandest works in the repertoire. As such, it is also an appropriate farewell to Maestro Guerrero who is bringing his 16-year tenure as the symphony’s music director to a close. He was a director who was excellent at achieving the most beautiful articulation of the broad romantic line in a work, and as the public face of the orchestra, he had a remarkable ability to create marvelous symphonic moments at the Schermerhorn, whether they be premieres of works by living American composers, or performances of the oldest chestnuts our culture has to offer. It was a wonderful concert and it laid plain the challenge that the search committee faces in seeking someone to replace him.
Mahler’s 8th Symphony was composed at the apex of his life, and indeed, at the time he saw it as culminating his compositional work to that point. He composed it while still married to Alma, while his daughter was alive, while he was himself, healthy, and although he faced horrible antisemitism in Vienna, his compositional and conducting career was blossoming. In the summer of 1906, as he composed, apart from a short span of fear from a writer’s block, he worked in haste and inspiration. In that summer, while on a break at the Mozart Festival in Salzburg, he allegedly told Richard Specht (music historian and friend) “…in the last three weeks I have completed the sketches of an entirely new symphony, something in comparison with which all the rest of my works are no more than introductions. I have never written anything like it; […] it is certainly the biggest thing that I have ever done.” Whether it is larger or more important than his 9th symphony, or Das Lied von Erde, is up to debate, but he is said to have called the 8th his most important as late as the summer of 1910, when the other works had been either written or conceived. Perhaps his most optimistic work, he had no way of predicting the tragedies that would later befall him.
The work itself is built on a frame of a sacred and then a secular religious work. The first being the hymn Veni creator spiritus, and the second a setting of Goethe’s famous final scene from Faust, depicting the redemption of the hero through das Ewige-Weibliche or the eternal feminine and their ascension. It is Mahler at his most optimistic and the music is spiritually beautiful, direct and sincere, lacking the irony and dark perception of the world that would mark his later works. In Nashville, another part of the Specht quote came to mind. Mahler described his intention with the Faust scene, and the entire symphony as “…to set it quite differently from other composers who have made it saccharine and feeble.” The power strength and vitality of the work was as powerful at the first chord as it was at the last, and in the Schermerhorn, the power was tangible.
Mary & Tucker Biddlecombe’s chorus was, again, exquisitely prepared. They competed admirably well with Mahler’s huge brass section, which in Nashville can be, if I am being honest, a little too loud for Laura Turner Hall. However, the clarity of diction and even, full sound, even in pianissimo, was remarkable. The soloists too, were excellent. In particular, Maria Aegyptiaca, sung I believe by alto Renée Tatum high in a balcony offstage, was incredible. We last heard Tatum here with Wagner’s Das Rheingold, and hope that she will find her way through BNA soon!
Personally, I am a little too angsty for Mahler’s 8th, I much prefer darkness overall in my Mahler (the 9th is my “jam”). That said, the highlight of the evening was the ever-ascending spiritual crescendo at the famous “das Ewige-Weibliche.” It was a remarkable performance that gave me the chills. One hopes that, like it was in Mahler’s life, the Eighth won’t be the apex for either the orchestra or the departing Maestro’s history—that this is just another step in a long, progressive journey of, and towards, ever greater excellence for each. Either way, it was a memorable evening, capping off yet another wonderful season! Thanks Maestro Guerrero, may the road rise to meet you!
The Circle Players Give Rent Its Due
The Circle Players, Nashville’s oldest volunteer community theater, is ending their 75th season with Rent, the rock musical loosely adapted from the opera La Boheme. The Pulitzer Prize winning musical is about bohemian artists living in New York City. It follows a circle of friends who are starving artists trying to live for their art while casting off bourgeois complacency and “the system.” There are significant differences from the opera, such as changing Mimi’s tuberculosis to AIDS, which most of the characters suffer from. Rent also expands the number of roles: there are almost ten main characters and many supporting roles.
There isn’t a strong or complex plot. Roger and Mark begin the show upset that their friend who owns their building hasn’t kept his word to let them live for free there, but is now charging them last year’s rent. They refuse to pay and consider him a sell-out while they’re staying true to their artistic dreams: Mark is a wannabe filmmaker and Roger a recently sober musician. Mark’s ex-girlfriend Maureen, who is now dating Joanne, is about to do performance art in front of a homeless encampment nearby and Mark and Joanne complain about Maureen’s habitual infidelity. While their electricity has been shut off, Roger meets Mimi, a neighbor who has come over to ask for a candle. Later their friend Collins introduces them to Angel, a street performer in drag who immediately becomes part of their friend group. The rest of the show features parties, breakups, reconciliations, a tragic death, and general drama and comedy.
The music has a few songs I really enjoy, but Rent is one of those musicals that you don’t want to think about too hard: while the show has a message of living each day as your last and sticking it to the man, the portrayal of these philosophies comes across more as recklessness and justification for pettiness. This aspect has been covered too well by Lindsay Ellis for me to spend any more time on it.
What the show does have is indulgently dramatic moments and much humor. One particularly ridiculous scene is when Maureen is doing her pretentious set, “Over the Moon.” It’s a moment that calls for a careful balance: it must be played straight because Maureen takes herself seriously, but not too straight or the audience might think it’s intended to be serious, in which case it would be painfully cringy. Maureen is played by Nikki Berra, who does a fantastic job with the balance in this scene and got everyone laughing loudly. Miya Nicole Burt plays her girlfriend Joanne, and they make an excellent on-stage couple, comedy and beautiful voices working perfectly together in “Take Me or Leave Me.”Another standout voice is Harrison Hall’s, who plays Roger. His voice is incredible, a perfect casting choice complemented by his excellent acting.
Megan Castleberry’s choreography for the show is great and the cast features talented dancers. Chaz A. Sanders is an exceptional dancer and is a joy to watch, moving as only a naturally gifted and extensively trained dancer can. He plays Angel with energetic enthusiasm. His choreography for the character is far more interesting and difficult than the movie adaptation, adding to the deserved praise.
Rent is at the Looby Theater, which shares a building with a library branch and community center (free parking!). The seating is comfortable and the theater is pleasantly small. The set for Rent is simple and the production uses minimal props. Ladders lead to scaffolding on both sides of the stage, connected by a bridge of scaffolding along the back. A chain link fence acts as the back of the stage, through which we can see graffitied walls and the musicians. Music Director Emily Dennis made sure the live music was great, and I’m very glad that Director Matthew Hayes Hunter made the choice to take the trouble and expense to get musicians: no recorded track can replace that energy or sound quality.
I’m not particularly fond of the musical itself, but I enjoyed watching the Circle Player’s performance. While all community theater has some performers that are stronger than others, and logistical difficulties (when I attended opening night, there was some difficulty with the timing of the microphones for a few minor characters), I was impressed by the show they were able to put on. If you’ve never seen the show, this production is a great way to start, and if you’re already a fan of the musical, I think you’ll have a blast. They will be performing Rent through June 1st. See their website for more information.
Vive la vie community theater!
The Importance of supporting extraordinary artists in collaborations
The 4th Annual Brave New Works
Since its inception in 2022 with featured artists Jennifer Whitcomb-Oliva, Sarah Saturday, Alex Winer, and Lenin Fernandez, OZ Arts Nashville’s Brave New Works Lab has become a crucial incubator for stage artists and collectives experimenting between performing arts disciplines and daring to imagine what seems to be beyond reach at first glance. As the OZ Arts Executive and Artistic Director Mark Murphy noted in his program presentation on the third evening of the showcase, “Brave New Works Lab is one of the most important things we do.” Rightfully so, this platform enables the brewing of boundary pushing works in progress. While OZ Arts offers the groundwork for producing and promoting the work, the artists can focus on developing the artworks being discussed.
I attended the last evening of the showcase which this year took place between May 15-17. Referring to Mark Murphy’s remark again, as it always happens with stage work that necessitates multiple rehearsals, the artists embody their practice through repetition. In that manner, on the third evening, I witnessed performances that had landed well, and this was visible through the artists’ comfortable presence in the space and under the omnipresent gaze of the audience.
Slithered through the evening program, the audience was subtly handed out a donation envelope, in hopes that this event will help in stimulating OZ Arts’ budget. They too were hit by the NEA funding cuts, thus endangering the rich and particularly international program that this company offers to Nashville.
For this year’s edition of Brave New Works Lab, OZ Arts has curated four short-form performances, where sound and movement were the predominant artistic expression.
In Welcome to Paradise, renowned spoken word poet and visual artist Landry Butler collaborated with the Inglewood Social Club quartet which habitually incorporates video projection to their live music performances. While Butler is facing the audience, from behind a podium, the musical performers have their backs turned to the audience, a lesson we are taught is an absolute no-no in directing school, unless it means something, which in this case, it does. The setup recalls a congregation and Butler, a performing preacher evoking Sun Ra’s Afrofuturist posture while the musicians are his congregation. “Welcome to the American Dream. We got things you need and things you didn’t know you do. We’ve got so much power, it’s not even funny.”- declares Butler in one of their lines.
The subverted mirroring that Butler utilizes in their performance concept reminded me of what the Slovenian industrial music group Laibach from Die Neue Slowenische Kunst (The New Slovenian Art) was doing in ex-Yugoslavia during the 1980’s. Through over-identification, the embodied and emphasized discourse becomes put into question. Declarations such as “The Spectacle is the medium”, “As above so below, as within, so without”, references to the church of SubGenius, situationist works, hermetic occult philosophy, all speak of an artistic expression that is deeply conceptual and promises both an intellectual as well as a didactical wave of performance creation in Nashville that I am yearning to experience.
In Bosch, created by Stacie Flood Popp, executive director of Found Movement Group and collaborator Kat Driver, it was easy to spot the amalgamation of continuous work, a quality that is a characteristic for ensembles, and particularly the functional ones.
Taking inspiration from Hieronymus Bosch’s painting The Garden of Earthly Delights, eleven contemporary performers recreate an ethereal atmosphere where the human and other than human connection is sensual but also conflictual and in a constant attempt to redefine the relationships and the boundaries between them. While the movements lean towards traditional ballet, the ensemble of diverse dancers also embodies reactive movement, both to the co-dancers as well as to the musical and lyrical rhythms, something that will be even more intensified and noticeable in Kourtney “Koko” French’s About Time.
In Ba Tsamaile, choreographer Windship Boyd and choreographer, visual artist, and performing artist Tumelo Michael Moloi put in conversation two innate percussive dance forms, originated around the same time, but in different continents: South African gumboot dance and the Southern tradition of stepping, further overlapped by the accompaniment of rhythms by Guinean drummer Ibrahima “Ibro” Dioubate and brass instrumentalists from TSU.
Projections by artist Sari Hoke become an extension of the live performance, with South African artist and dancer Tumelo Michael Moloi, stepper extraordinaire Aniya Coleman, drummer Ibrahima “Ibro” Dioubate occurring on the screen, inviting the audience to their habitat and native languages. The images are juxtaposed by archival footage of the miners, emphasizing their yellow mud boots, which Tumelo Michael Moloi is also wearing on stage, contrasting his traditional costume, interfaced by images of the queen of England watching a traditional dance, thus drawing a very clear reference to colonialism and exploitation.
This production breaks the fourth wall and has an uplifting gestural conversation as the performers stretch their communication with the audience, meeting the eye contact, asking for a clap response, and offering celebratory smiles.
The last piece of the showcase, About Time by Hip-hop dance virtuoso Kourtney “Koko” French engages eight dancers in a movement-based examination of the concepts of time and urgency. This eloquent choreographic concept dwells upon the human relationship with time, emphasizing its value and irreversibility. While the dancers are synchronized as a group as well as their timing is coordinated to the music, most performers shine in their solo moments, cheered at by audience members who encourage them by calling their names. The movements are fluid, graceful, flowing, and natural, the connections between group members short, but meaningful.
What strikes in both About Time, Bosch, and somewhat in Ba Tsamaile, is the audience ovation which was very present throughout the performances or at least in the last evening of the showcase which I attended. Fellow dancers, friends, even the directors of the works responded and motivated colleagues on stage, a form of communication that is very familiar and present in contemporary dance showcases and competitions.
This year’s New Works Lab serves as a testament to two key observations: the potentialities of international and interdisciplinary collaborations as well as the existence of a rather developed contemporary dance scene in a town that has a tailored audience. Stacie Flood Popp’s Found Movement Group and Koko’s Ink Movement which incorporates Koko’s individualized Ko-Style Method, are an indication to the presence of this exciting scene.
On the other hand, the demographics of the Brave New Works Lab has shifted or rather, it has grown from solo works to prevalent collective works, which confirms the growth and expansion of collaborations and puts emphasis on the importance of collaborative works for stage.
I had a brief talk with OZ Arts’ Associate Director of Programming and Partnerships Daniel Jones, contemplating on the future of these showcased works and how Brave New Works Lab has thus far helped in forwarding the careers of the artists supported by OZ Arts.
Some success stories include Sarah Saturday who has toured with her fully realized version of her multimedia music project Voyage to various places like Los Angeles and Richmond, VA, and soon to St. Louis. Asia Pyron / PYDANCE was able to expand their 2024 Lab creation God’s Country into a full-evening production that played for one night at TPAC this past January. Cameron L. Mitchell’s Regicide: To Kill a King (2024 Lab) is currently being developed into a full-length production and had a reading at Nashville Rep earlier this spring. Clay Steakley & Becca Hoback are continuing their collaboration around The Fire Cycle, of which the first live performance excerpt premiered at the 2023 Lab and film excerpts have been shown at various festivals. They are in talks to develop the full project for a public television broadcast.
“The interesting next step for artists in Nashville and the Southeast will be figuring out how to build infrastructure for local artists to tour their work to other markets and build connections outside the city. Many of these projects have more life in them and deserve to continue developing beyond their initial sharing in the Brave New Works Lab,” Daniel said.
We both agreed that the topic of national and international recognition of Nashville artists, most of whom have unfortunately not yet had the opportunity to tour with their work, deserves further public conversation which we are hoping to initiate sooner than later.
At the Scarritt Bennett Center
SONUS CHOIR’S “MOTHER NATURE”
As part of their eleventh season, SONUS Choir presented “Mother Nature: a Celebration of Female Composers and Nature,” on May 16th at 7:30 p.m. in Wightman Chapel at the Scarritt Bennett Center. Originally an a Capella (or singing without instrumental accompaniment) choir made up of alumni from the Trevecca Madrigalians (of Nashville’s Trevecca Nazarene University), the group set its sights on becoming a premier choir starting in 2018. SONUS’s leadership team includes Co-Founder and Musical Director Timbre Cierpke, Director of Business Development Garen Webb, and Director of Operations Joy Baker. I was excited for this concert since I attended SONUS’s Tenth-Anniversary performance last May. If I recall correctly, SONUS became an auditioned ensemble beginning in 2024, and they will hold their 2025 auditions on July 1st.
Cierpke shared how the evening’s program intertwined the celebration of female composers with the theme of nature. Reflecting on her upbringing in a musical family where “classical” music was prevalent, Cierpke observed that women composers were widely underrepresented—an oversight that, at the time, did not seem to indicate a path for her own future as a composer. Yet, Cierpke did become a composer herself and two of her pieces—Dum Spiro, Spero and Mother God— are featured on the evening’s program. The concert’s title, “Mother Nature,” evokes a poetic parallel between the creative visions of the collection of women composers featured and nature’s generative force.
SONUS opened their concert with Eric Whitacre’s “With a Lily” from Three Flower Songs (1990). This introduction showcased the choir’s wonderful composite sound. The rhythmic momentum, complex harmonies, and unique musical gestures were tightly performed.
Next, Emily Mason’s Meditabor won a 2021 composition prize sponsored by Notre Dame University’s Magnificat Choir. This beautiful contemporary piece texturally evokes echoes of Medieval vocal music. The title “Meditabor,” Latin for “meditate,” is initially repeated in unison by female voices before additional voices join, creating a sound reminiscent of organum. Drawing from Psalm 119 (verses 47–50), the text expresses the psalmist’s delight in God’s commandments and desire to meditate on them. The piece emulates chant, to organum, to homophony throughout, reaching its climax on the lyric “which I love.” Gorgeous! (I recommend experiencing this clip of SONUS the climax of Meditabor on Instagram: https://www.instagram.com/reel/DIuTm6cSvfm/).
I am thrilled to discuss “Imagine a Favorite Place” from Shara Nova’s captivating choral song cycle Titration (2022). This profound cycle explores how challenging emotions—fear, sorrow, disgust, and rage—impact our nervous systems. While the term “titration” traditionally refers to the careful balancing of chemicals or medications to achieve bodily equilibrium, Nova’s “Imagine a Favorite Place” beautifully reinterprets this concept through the lens of self-soothing. The piece encourages listeners to navigate negative emotions by self-regulating their nervous systems, inviting them to envision safe, comforting spaces as a form of emotional titration. SONUS delivered an exceptional performance of this work, with high voices weaving an ethereal—almost mythopoeic—melody over a grounding drone of low voices. The drone itself subtly shifted between unisons and dissonant and consonant intervals, creating a dynamic, meditative foundation. The melody’s text serves as a gentle guide, offering a list of places one might imagine, each evoking a sense of tranquility and refuge.
After the lyric “Imagine the ocean side or a cloud ride,’ the music shifts into a trajectory that feels distinctly synaptic, as if Nova’s composition sonically maps the intricate,
internal processes of neural communication. It develops through a cascade of ever-shifting tone clusters, their fluctuations and oscillations mirroring the dynamic rhythms of the body’s regulatory systems. Gradually, the music finds its equilibrium, arriving at a moment of serene stasis, echoing this notion of titration, or the name of the cycle that “Imagine…” belongs to.
Of the two compositions by Artistic Director Timbre Cierpke—Dum Spiro, Spero and Mother God—I’ve chosen to focus on the latter, having previously reviewed the former in May of last year.[1] Mother God emerged from Cierpke’s profound meditation on the divine as a feminine presence, a concept she developed through her exploration of biblical scriptures that illuminate God’s nurturing, compassionate, and altruistic nature. This piece masterfully reimagines the divine through a lens of maternal care, offering a tender and transformative perspective on spirituality. Sonically, Mother God reflects Cierpke’s introspective journey, weaving together a tapestry of biblical imagery to craft its verses.
The opening line, “Like an eagle stirs up her nest…,” draws from Deuteronomy 32:11, while the second verse, “Like a mother hen gathers her children…,” echoes passages from Luke 13:34 and Matthew 23:37. “As a mother lifts a little child to her cheek” is inspired by Hosea 11:3, and “Like a mother comforts her child, so I will comfort you…” resonates with Isaiah 66:13. Each verse, rich with vivid imagery, not only underscores the piece’s thematic depth but also invites listeners to experience the divine as a source of unconditional love and solace.
Cierpke’s setting of this text is masterfully crafted, with a tonal palette that ebbs and flows between moments of spare simplicity and rich, full textures. She skillfully balances passing figures and suspensions, creating a dynamic yet cohesive musical picture.
SONUS’s performance of the piece was nothing short of exceptional, as they navigated its delicate nuances with precision and sensitivity. Their interpretation brought out the emotional depth and subtle contrasts in the music, allowing the work to resonate with both clarity and warmth. It was a performance that not only honored Cierpke’s vision but also elevated it, leaving a lasting impression on the listener.
While I can’t delve into every piece on the program, it’s essential to highlight the other remarkable composers featured in this concert: Rachel Grimes, Joy Baker, Kyle Baker, Cecilia McDowall, Kerensa Briggs, and Caroline Shaw. Each brought their unique voice to the evening, contributing to a rich and diverse musical offering. This performance marks the culmination of SONUS’s season, and I wholeheartedly encourage everyone to follow as they embark on their next season. To stay connected and learn more about their upcoming performances, visit their website at https://www.sonuschoir.com.
[1] Stephen Turner, “Dum Spiro, Spero: SONUS Choir’s Tenth-Anniversary Concert,” Music City Review (May 17, 2024), https://www.musiccityreview.com/2024/05/17/dum-spiro-spero-sonus-choirs-tenth-anniversary-concert/. Accessed: May 19, 2025.
Rent is Due!
Circle Players, Nashville’s oldest non-profit volunteer arts organization, is performing Rent as the last show of their 75th season. No longer on Broadway and with no current touring production, this is your chance to see Rent in live performance!
Rent will be at the Looby Theater May 21st through June 1st. Click here for more information.
A Night with the Nashville Symphony:
The Premiere of Winger’s Violin Concerto and the Music Barber and Copland
Versión en español aqui
This past weekend was an exciting time for new music in Nashville, with the Nashville Symphony’s premiere of C.F. Kip Winger’s Violin Concerto: In the Language of Flowers, during their Barber, Winger, and Copland concert. It was an entertaining performance that featured Samuel Barber’s Overture to The School for Scandal, as well as Aaron Copland’s Symphony No. 3, and concertmaster Peter Otto as violin soloist. This program was a great selection that played to music director Giancarlo Guerrero’s ability to evoke a wide range of emotions and characters from the orchestra.
The evening began with Barber’s Overture to The School for Scandal, a playful and harmonically broad work that the composer wrote at just 21 years old, as his first orchestral composition. Though composed years before his well-known Adagio for Strings, this piece is full of lyrical charm and rhythmic energy, not only representative of Barber’s style, but of Richard Brinsley Sheridan’s 1777 comedic play which inspired it. The orchestra’s strings and woodwinds bring the work’s melodic developments, like in the moments of solo oboe or accompanied clarinet, played wonderfully by principal oboist Titus Underwood and principal clarinetist Danny Goldman, respectively.
The most anticipated work on the program, the world premiere of Winger’s Violin Concerto followed, and I cannot begin to describe how anxiously I await the live recording – this piece (and its performance) was wonderful. The composer’s varied background is clearly reflected in the work. His early life was shaped by jazz and years studying dance with a ballet company, until he eventually ventured into rock with his own band, Winger, and collaborations with acts such as Alice Cooper. In 2017, the Nashville Symphony performed Winger’s ballet score Conversations with Nijinsky. Upon the positive reception of this performance, Guerrero invited Winger to write a symphony and concerto. In 2022, the Nashville Symphony premiered Winger’s Symphony No. 1, which the composer described himself as an autobiographical work “centered around the theme of atonement.” Though he began writing his violin concerto in 2019, it is not until the years following his concerto that he would complete most of the work, with the help of Peter Otto, the current concertmaster of the Nashville Symphony.
The first movement, titled “Forsythia,” opens with a violin cadenza, in which all the concerto’s four main themes are presented. Here, Otto suggests only a small sample of the virtuosic writing (and playing) that is to come with phrases of chromatic runs and arpeggios. Written in 7/8 time signature, Winger employs polyrhythm to build synergy between the soloist and orchestra. The second movement, “Viscaria,” is where the violin truly takes the front stage. In a rapid fashion, the violin often interrupts the orchestra with extravagant and rhythmically dense statements, like what one may find in a rock guitar solo. Otto takes full advantage of the writing, giving the audience no time to process the technical accuracy and prowise of his playing. This continues into the third movement, “Ambrosia.” Otto delights the audience with gentle lyrical playing of a subject which Winger himself considers his “all-time best melody.” Passionate, yet apprehensive, Shostakovich’s influence is particularly evident, here. The final movement, “Wisteria,” is the proper conclusion to a work so conflicted, full of contrast and skill. Otto’s attention to detail and care for subtly is on full display, here, and it is made clear that this piece was written with him in mind.
The program concluded with Copland’s Symphony No. 3. This was my first time listening to any of Copland’s symphonic works in-person, and it did not disappoint. The first movement opens with Copland’s signature Western sound, which he creates using widely spaced intervals and open textures of woodwinds, strings, and horns. The main theme is presented like a hymn, then quickly develops into a rhythmically driven and densely textured middle section. The orchestra has the keen ability to shift mood rapidly, making full textures appear, seemingly, out of nowhere and with ease. The second movement is a scherzo and is our first introduction to the Fanfare for the Common Man material that becomes increasingly present throughout the rest of the symphony. The dramatic nature of this movement lends itself to the orchestra’s brass sections, all capable of capturing a wide range of emotions. The trumpet section, led by principal William Leathers, especially realized Copland’s explosive and colorful writing, here. The third movement is slow and haunting. Its lyrical theme is reminiscent of the first movement, with brighter textures, though maintains a coldness throughout. The final movement immediately follows, with no pause. Here, the fanfare material from Fanfare for the Common Man reaches its peak, growing from the flutes then to the brass for an epic climax. Throughout the movement, the music breaks itself down then rebuilds, with not only a fanfare theme, but a 7/8 theme as well, clearly influenced by Latin-American rhythms. The orchestra truly shines at the climax of the movement, in the powerful return of the fanfare theme.
On the weekend of May 25th, Guerrero will conduct his final program as Music Director of the Nashville Symphony, titled “Guerrero’s Finale: Mahler’s Symphony of a Thousand.” The symphony will be performing Gustav Mahler’s colossal Symphony No. 8 (“Symphony of a Thousand”). It is sure to be an incredible experience and a fitting conclusion to Guerrero’s 16-year tenure with the Nashville Symphony.
Una noche con la Sinfónica de Nashville:
El estreno del Concierto para violín de Winger y la música de Barber y Copland
English Version Here
El fin de semana pasado fue un momento emocionante para la nueva música en Nashville, con el estreno del Concierto para violín: In the Language of Flowers (En el lenguaje de las flores) de C.F. Kip Winger, interpretado por la Sinfónica de Nashville durante su programa de Barber, Winger y Copland. La actuación contó con la Overture to The School for Scandal (Obertura de La escuela del escándalo) de Samuel Barber, la Sinfonía n.º 3 de Aaron Copland, y la participación especial el concertino Peter Otto como solista. Este programa fue una gran selección que aprovechó la capacidad del director musical Giancarlo Guerrero para evocar una amplia gama de emociones y personajes con la orquesta.
La noche comenzó con la Overture to The School for Scandal de Barber, una obra lúdica y armónicamente amplia que el compositor escribió con tan solo 21 años, como su primera composición orquestal. Aunque compuesta años antes de su conocido Adagio para cuerdas, esta pieza está llena de encanto lírico y energía rítmica, no solo representativa del estilo de Barber, sino de la obra cómica de Richard Brinsley Sheridan de 1777 que la inspiró. Las cuerdas y los vientos de la orquesta aportan los desarrollos melódicos de la obra, como en los momentos de oboe solista o clarinete acompañado, tocados maravillosamente por el oboísta principal Titus Underwood y el clarinetista principal Danny Goldman, respectivamente.
Le siguió la obra más esperada del programa, el estreno mundial del Concierto para violín de Winger, y no puedo empezar a describir que espero con ansiedad la grabación en vivp: esta pieza y su interpretación fue maravillosa. La diversa formación del compositor se refleja claramente en la obra. Sus primeros años de vida estuvieron marcados por el jazz y los años de estudio de danza con una compañía de ballet, hasta que finalmente se aventuró en el rock con su propia banda, Winger, y colaboraciones con artistas como Alice Cooper. En 2017, la Sinfónica de Nashville interpretó la partitura de ballet de Winger Conversations with Nijinsky (Conversaciones con Nijinsky). Ante la buena acogida de esta actuación, Guerrero invitó a Winger a escribir una sinfonía y un concierto. En 2022, la Sinfónica de Nashville estrenó la Sinfonía n.º 1 de Winger, que el compositor describió como una obra autobiográfica “centrada en el tema de la expiación”. Aunque comenzó a escribir su concierto para violín en 2019, no fue hasta los años siguientes que completaría la mayor parte de la obra, con la ayuda de Peter Otto, el actual concertino de la Sinfónica de Nashville.
El primer movimiento, titulado “Forsythia“, se abre con una cadenza para violín, en la que se presentan los cuatro temas principales del concierto. Aquí, Otto sugiere sólo una pequeña muestra del virtuosismo de la escritura y la interpretación que vendrá con frases de corridas cromáticas y arpegios. Escrito en compás de 7/8, Winger emplea la polirritmia para crear sinergia entre el solista y la orquesta. El segundo movimiento, “Viscaria“, es donde el violín realmente toma el primer plano. De manera rápida, su voz a menudo interrumpe a la orquesta con declaraciones extravagantes y rítmicamente densas, como las que uno puede encontrar en un solo de guitarra de rock. Otto aprovecha al máximo la escritura, sin dar tiempo al público para procesar la precisión técnica y la prosabia de su interpretación. Esto continúa en el tercer movimiento, “Ambrosia”. Otto deleita al público con una suave interpretación lírica de un tema que el propio Winger considera su “mejor melodía de todos los tiempos”. Apasionado, pero aprensivo, la influencia de Shostakovich es particularmente evidente aquí. El último movimiento, “Wisteria“, es la conclusión adecuada de una obra tan conflictiva, llena de contraste y habilidad. La atención al detalle y el cuidado de Otto por la sutileza está en plena exhibición aquí, y queda claro que esta pieza fue escrita pensando en él.
El programa concluyó con la Sinfonía n.º 3 de Copland. Esta fue la primera vez que escuché cualquiera de las obras sinfónicas del compositor, y superó todas mis expectativas. El primer movimiento se abre con el sonido del oestel característico de Copland, que crea utilizando intervalos muy espaciados y texturas abiertas de vientos, cuerdas y trompas. El tema principal se presenta como un himno, luego se convierte rápidamente en una sección central rítmica y densamente texturizada. La orquesta tiene la gran capacidad de cambiar el estado de ánimo rápidamente, haciendo que las texturas completas aparezcan, aparentemente, de la nada y con facilidad. El segundo movimiento es un scherzo y es nuestra primera introducción a la Fanfarria para el Hombre Común, material que se hace cada vez más presente en el resto de la sinfonía. La naturaleza dramática de este movimiento se presta las secciones de metales de la orquesta, todas capaces de capturar una amplia gama de emociones. La sección de trompetas, dirigida por el director William Leathers, se dio cuenta especialmente de la explosiva y colorida escritura de Copland, aquí. El tercer movimiento es lento e inquietante. Su tema lírico recuerda al primer movimiento, con texturas más brillantes, aunque mantiene una frialdad en todo momento. El movimiento final sigue inmediatamentesin pausa. Aquí, el material de Fanfare for the Common Man alcanza su punto máximo, creciendo desde las flautas hasta los metales para un clímax épico. A lo largo del movimiento, la música se descompone y luego se reconstruye, no solo con un tema de fanfarria, sino también con un tema de 7/8, claramente influenciado por los ritmos latinoamericanos. La orquesta brilla realmente en el clímax del movimiento, en el poderoso regreso del tema de la fanfarria.
El fin de semana del 25 de mayo, Guerrero dirigirá su último programa como Director Musical de la Sinfónica de Nashville, titulado “Guerrero’s Finale: Mahler’s Symphony of a Thousand“. La sinfónica interpretará la colosal Sinfonía n.º 8 de Gustav Mahler. Seguramente será una experiencia increíble y una conclusión adecuada para los 16 años de mandato de Guerrero con la Sinfónica de Nashville.
Entendiendo cómo funciona Nashville a través de
The Soundwaves Gallery: “El corazón de Nashville”
Version in English Here
Desde 2021, The Nashville Soccer Club (Nashville SC) y el Arts & Business Council of Greater Nashville (ABC) han colaborado en diferentes iniciativas artísticas comunitarias, como la Soundwaves Gallery. Este proyecto ha exhibido el trabajo de innumerables artistas locales de Nashville en las áreas de clubes premium de GEODIS Park. El 6 de mayo, tuve la oportunidad de recorrer la colección actual titulada “The He(art) of Nashville,” con dos artistas destacados, Omari Booker y Arash Shoushtari (nombre artístico IMGRNT), quienes proporcionaron un contexto valioso sobre la relevancia de sus obras en la galería. También nos acompañaron Jill McMillan Palm y Jennifer “Ennie” Brosius, directora ejecutiva y gerente de programas de ABC, así como Kensi Juskiewicz, coordinadora de comunicaciones del Nashville SC. Su discusión me ayudó a comprender la importancia de la colaboración de Nashville SC, GEODIS Park y ABC como un importante punto de referencia para la interacción del arte y la identidad en Nashville.
La exhibición consta de 44 obras de 44 artistas locales en varios medios diferentes como óleo sobre lienzo, tela sobre tablero de madera e incluso vidrio fundido. Las obras se extienden por todo un pasillo; comenzando con obras abstractas, luego avanzando hacia retratos y paisajes. Una de las primeras obras que me llamó la atención fue Love Story de Jennifer Haston. Una obra de técnica mixta que presenta siluetas de diferentes colores plasmadas en partituras de personas reales de la vida de Haston. Es una representación única de cómo estas diferentes personas trabajan juntas para crear una experiencia de vida armoniosa, edificándose y apoyándose mutuamente. Los vibrantes azules, rosas y rojos sobre las partituras desgastadas crean una yuxtaposición distinta entre la expectativa y la realidad. Nunca hay color para las partituras, solo blanco y negro, pero la combinación aquí es adecuada. La pieza sobre la que están impresas estas figuras se titula “Love Song,” abrazando aún más la noción de amor y paz como un esfuerzo compartido.
Le siguen obras como Nightlights de Rhiannon Guppy y Petrichor de Will Maddoxx, utilizando colores brillantes para desarrollar la idea de la comunidad y la vida nocturna de Nashville como algo borroso, pero también algo controlado y enfocado. Max de Carrie DePauw y Glass Kite de Lauren B. son obras que utilizan el color para representar la individualidad y la calidez que conforman la comunidad de Nashville. Estos dos artistas, así como Jennifer Haston, son parte de Friends Life Community (FLC), una organización de Nashville que “provides opportunities for individuals with developmental disabilities to grow, develop, and be active members of the community.” – (brinda oportunidades para que las personas con discapacidades del desarrollo crezcan, se desarrollen y sean miembros activos de la comunidad.) La galería cuenta con muchos artistas de diferentes culturas, con diferentes orígenes e historias, esta es una idea extremadamente importante de este proyecto. Nuestras diferencias deben ser las que nos unan y merezcan ser representadas. Estas identidades son Nashville. No podría haber habido mejores representantes de esta propuesta que los dos artistas con los que tuve la oportunidad de hablar, Booker e IMGRNT.
BWGRS es un tríptico de una obra de mayor tamaño que consta de 7 paneles inspirados en los patrones textiles persas para crear una imagen fascinante y proporcionar un contornomás profundo como elemento de la narración. En esta pieza, IMGRNT cuenta la historia de sus dos tíos, representados por formas de diamantes rojos y verdes, conectados por una línea dorada vertical. Su historia es un reflejo más profundo de las raíces iraníes del artista, así como de la experiencia de los inmigrantes; dos temas que están presentes en las obras visuales y performativas del artista. Me pareció interesante lo bien que funcionaban juntos los tres paneles, aunque tomados de una obra más grande: IMGRNT explicó cómo el tríptico siempre estuvo presente en la obra.
Esta adaptabilidad es un componente importante de su arte y ayuda a expandir el interés del artista en las comunidades de inmigrantes como parte fundamental en la identidad de Nashville. Según lo mencionado anteriormente, IMGRNT también hace arte escénico en una forma más directa y explícita de la representación y la experiencia de los inmigrantes : su trabajo War & Beat (in A Natural Minor) se discutió en un artículo anterior de Music City Review que cubrió el Kindling Arts Festival en 2024.
Alex and Ash es la obra destacada de Omari Booker, un artista multidisciplinario con sede en Nashville, Tennessee, y Los Ángeles, California. En esta composición, Booker pinta la escena de Alex Lockwood y Ash Atterberry, dos miembros prominentes de la comunidad artística del norte de Nashville, acerca de una reunión reciente en Elephant Gallery, una galería de arte de Nashville que Alex abrió alrededor de 2016. Aunque es una imagen muy real, esta pintura es onírica: los reflejos azules alrededor de los ojos de Alex y en toda la pieza y su distribución de color son elementos destacados que se suman a la naturaleza animada de la obra. Booker describió cómo su arte está fuertemente influenciado por su “surroundings, family, and friends,” (el entorno, la familia y los amigos) revelando una historia más profunda. Para estas galerías, los artistas pueden presentar hasta 5 piezas. Muchos presentan obras preexistentes, mientras que otros crean específicamente para el tema de la galería. Alex and Ash fue el único trabajo que Booker presentó, pero encapsulaba perfectamente la idea del arte de Nashville, no solo diverso, sino también autosuficiente y conectado. Booker expresó que considera a Alex y Ash son modelos artísticos fundamentales, no solo para él, sino para toda la ciudad de Nashville. Destacó la importancia de su enfoque en el arte de creadores locales y regionales, ya que este representa la auténtica identidad creativa de la ciudad. Para él, esta distinción resulta especialmente relevante en un contexto donde la gentrificación ha afectado profundamente tanto a las artes como a las comunidades negras.
La Soundwaves Gallery se exhibe durante toda la temporada del Nashville SC, a partir de febrero, y se muestra en varios recorridos por estadios a lo largo del año. Su inclusión en GEODIS Park capta el punto de que el estadio es un lugar de unidad para todo Nashville, reuniendo a personas de diferentes ámbitos de la vida para disfrutar de su interés compartido en el fútbol. ABC y Nashville SC están trabajando juntos en proyectos más nuevos, como el recientemente anunciado Starting XI. Este es un esfuerzo emocionante que encarga a 11 artistas locales crear arte relacionado con el fútbol a partir de artículos deportivos reciclados. La primera de estas obras es un par de botines de fútbol reutilizados , que ahora se exhiben en la Galería Soundwaves. A lo largo de la temporada, estos artículos se exhibirán uno a la vez, y tienen como objetivo resaltar la interacción de la sostenibilidad y el arte. Asegúrate de mantenerte al día con Booker e IMGRNT, así como con ABC y Nashville SC. Todos están trabajando para mantener vivo el arte local y para representarnos mejor a nosotros, la población diversa de Nashville.
