‘Turn It Up’ and ‘Boogieman’ from Cam Gallagher and The Tasty Soul
When their manager first sent me an email in October, looking for seasonal coverage of their Boogieman,”I thought that Cam Gallagher and The Tasty Soul were perhaps a little too mainstream for the pages of our distinguished review. I mean, who wants to help a bunch of rich kids from the local Christian private school–they’ve got what they need? Or are they from Utah? (Funk Mormons? mysteries abide). Of course, being the old fool that I am, I was completely wrong—they’ve got what WE NEED. The band is Nashville, but much closer to the Jefferson Street of yore than the Nashvegas that spoils our city’s fine sweet tea. When I was given another chance to cover them this past weekend, I sent Boogieman and Turn it up out to my snowbound writers, asking for a paragraph from each, and below you’ll find their responses. After you read this, I’d suggest you quit dodging those flying barstools over on Broadway and get your ass into some nasty dive like the Tin Roof or the Basement and hear this “funk Spectacle” testify. I wonder if they’d give an old guy a free pass to see them?–Joseph Morgan
Both tracks are everything funk should be, with that classic rhythm section layering of a bass line that lays down the funky groove, a sticky, repetitive guitar part that keeps you hooked, and a killer drum pattern to hold it all together. While Turn It Up is a classic chant-along party track, Boogieman is more thematically sophisticated, with vocals reminiscent of Gary Clark, Jr. and a ripping solo from Gallagher himself. Both tracks feature solid performances by all involved, including a tight horn section that fits right into the groove.–Wyatt Parks
It’s all in the name “The Tasty Soul.” It is “The” Tasty Soul, in that the capitalized definitive article makes it part of the name, a proper noun–this is not just any tasty soul, it is The Tasty Soul. “Tasty,” is powerfully ambiguous. One thinks of pot-smoking Jeff Spicoli’s “tasty waves” or perhaps of the old British slang for “violent, combative, good at fighting…” (see the OED), but I like to combine them, as in “dude, that’s band is quite good and a little dangerous.” Finally, the singular “Soul” is even more powerful in its ambiguity: Is it a reference to the musical genre “soul?” Is it a reference to their collective identity as a band? Is it a reference to the gospel and sacred ancestry of the music they play? Is it a reference to the fact that they may be the last band left with a soul in Nashville?–Eusebius
“Warm keys, soulful winds. Turn it up is a mellow nod to jazz tune staples and modern hitmakers. I especially enjoyed the gradual buildup to the full and powerful ending. Boogieman is a sultry piece that features vocals by Esi. A great accompaniment to the “Turn it up” single.”–Nathan Stone
After listening to the two featured tracks, my feeling is that I’ve heard all the component parts before, whether in 70’s pop-funk party-friendly outfits like the Average White Band, the soul jazz organ riffs of Jimmy Smith, some of the JB Horns’ go-to lines, and even the chill acid jazz grooves of the 80’s that were laid to rest after electronic club music took over in the next decade. The Tasty Soul aren’t mere revivalists or melange-makers, and they never depart from a live, instantly danceable sensibility, as slick as the album production appears to be. They have youth on their side, and we’ll have to see whether this large, layered ensemble will stay together and keep moving forward long enough to move from groove-generators to a distinctive collective voice. –William Levine
With a nod to the traditions of the funk genre and chops for days, on the tracks Turn it Up and Boogieman Cam Gallagher and The Tasty Soul present a neo-soul infused approach to the kind of horn driven R&B that is simultaneously adventurous and instantly idiomatic. These musicians can flat out play – there is no denying that. The arrangements are clean and collaborative, and while the soloists are given a chance to stretch out, I’m not left feeling like either of these tunes is only a vehicle for a display of individual virtuosity. These two tracks led me to look further into the band’s output, and some personal favorites include tunes like Snickelfritz, Funky Stitches, and Punch FUNK (The Chase). These are infectious grooves that suggest the influence of T.O.P. – and to this listener there aren’t many higher compliments than this! As the band continues to develop its own voice, I’ll be eager to hear new takes on the styles they already play so well. –Brad Baumgartner
Turn it Up presents a fun, funky song. With a great brass section, mellow sax solo, and good old electric organ, it’s the perfect mash-up of classic and modern funk. The vocal line’s repetitive call Turn it up evokes “Get Up Offa That Thing” by James Brown. The whole piece is infused with scintillating fresh energy. Boogieman starts with an intro that reminds me of Pink Floyd, complete with synth. The brooding intro is soon transformed into an upbeat, syncopated groove with the entrance of the bass guitar and drums, classic elements of the funk genre of the 70s and 80s. Listen out for a musical breakdown 2/3rds of the way through the piece which includes some creepy surprises well worth hearing. Stay warm! —Sarah Featherston
Peter Pan: Neverland in Nashville
Peter Pan has a more varied origin story than I had imagined. The Scottish author J. M. Barrie told stories of a flying baby to family friends with five boys (for whom he became a co-guardian after the deaths of their parents). This character then appeared in several chapters in his episodic 1902 novel The Little White Bird, this Peter Pan being an infant who flies with fairies in Kensington Gardens. Two years later he wrote the stage play Peter Pan: Or, the Boy Who Wouldn’t Grow Up. In 1911, Barrie adapted the story into the novel. The copyrights to the character Peter Pan were later gifted by Barrie to the Great Ormond Street Hospital, the UK’s leading children’s hospital. Since then there have been numerous adaptations: most of us have seen the Disney animation, the odd-but-fun Hook, my personal favorite version from 2003, or one of the many others. While Barrie’s original play is rarely performed, the 1954 Broadway musical adaptation is the most popular live version in the US. Successful on the stage and in later adaptations on television, Peter Pan: The Broadway Musical began its North American tour in 2024 with a rewritten book by Larissa FastHorse, and came to TPAC early this January.
I won’t give a summary of the plot because it’s so familiar and accessible. The story is strange and violent (which explains its perineal appeal to children), and this adaptation retains the strangeness and violence, with multiple kidnappings, attempted poisonings, sword fights, and a crocodile. There is no dog Nana, which might leave some disappointed, but I can’t blame the show for wanting to avoid the difficulties of a live animal on stage.
I haven’t seen this 1954 Broadway play’s original portrayal of Native Americans, but judging by the Disney animation’s version from the same decade, it probably needed serious improvement. Native American playwright Larissa FastHorse’s updated book certainly avoids racist tropes, and Tiger Lily has some additional lines explaining her people’s presence on the island as a deliberate preservation of their culture, although much detail about their original arrival or future plans isn’t provided, making the addition feel a little underdeveloped. This updated version is set in modern times, which feels unnecessary since most of the play is spent in Neverland. The modernity is also briefly heavy-handed: as the play begins Wendy is trying to record herself doing a viral dance and she mentions becoming an influencer to help pay for medical school. The babysitter watching the kids is screen-obsessed, and while the humor based on her is funny enough, these additions feel tacked-on and ultimately add nothing. Kids don’t need references to screens to empathise with children running away to fly and battle pirates. Wendy’s new ambition of becoming a surgeon changes nothing in her character and ends up only as an aspirational aside: she shows no surprise, only enthusiasm, when Peter needs her help reattaching his shadow, or using fairy dust to fly. These modern additions are only at the beginning of the show, and the rest of the play remains the charming story we’re familiar with.
The music in the show isn’t particularly memorable: imagine your typical 1950’s Broadway music and you’ve got it. But the songs are enjoyable, upbeat, fun, and allow for comic choreography. Captain Hook has multiple villain songs and the show avoids the sin of show-halting ballads. The live music is excellent under conductor Jonathan Marro. Tinker Bell is my favorite part of the music; her voice is played by a twinkling celesta (or the electronic equivalent), which allows for a surprising amount of attitude. The fairy isn’t played by any cast member, but is a tiny bright light which moves around the stage in impressively timed choreography: strung on wires, then whisked from Peter’s hands to Wendy’s, then into a box, and so on. This technical skill looks effortless.
My only complaint in the special effects is that the crocodile is slightly disappointing. A person in a suit, it only crawls around the stage slowly. Its style doesn’t match the rest of the scenery and looks unfinished and low-budget compared to the high quality of the other costumes.
Another aspect of the staging I really enjoyed is Peter’s shadow. There’s a whole bit during “I Gotta Crow” where his shadow stops doing the correct choreography and dances by itself. Children will find that cleverly done projection to be absolutely magical. The wires for flying are excellent as well: the children are all impressively plausible and graceful as they fly about the stage leaving London for Neverland. The backdrop is a screen, and for part of their flight they turn their backs to us and the screen whooshes through the city as they turn and dive accordingly.
The screen is used well almost the whole time, with realistic or stylized backdrops (depending on whether they’re in London or Neverland), and a few appearances of Peter Pan when he’s darting around the stage, confusing Captain Hook with his vocal mimickry. There is one jarring moment at the end, when for absolutely no reason the moon expands, grows a mouth, moves to the center of the screen, and agrees with what the characters are already saying in a goofy male voice before returning to the sky. This Annoying Orange moment probably intends to capture youthful meme energy, but instead it is obnoxious.
Peter Pan has historically been played by women on the stage. There are many obvious benefits to this: all the dependability and skill of an adult performer, no sudden growth-spurts or voice changes, and so forth. However, having grown up watching talented child actors in movies, seeing an adult woman pretend to be a prepubescent boy is rather off-putting, even in the unreality of live theater. This production is aware of this and cast Nolan Almeida as Peter Pan. He does a marvelous job. A senior in high school, he has a light frame and his well-designed costume makes him look extra boyish. His voice is excellent and he portrays the character with spirited and perfectly-measured petulant childishness as he gracefully flies around the stage.
Hawa Kamara is a very sweet Wendy, and reminded me how underrated Wendy is as a character: how often do you have a kind, adventurous, responsible protagonist in such a wild story? Kurt Perry is a funny and unthreatening Smee; by the end of the show you’re convinced he joined the pirate crew entirely by accident. Cody Garcia is Mr. Darling/Captain Hook, and plays the role with proper piratical flourish and comedic drama. Wendy’s brothers and the Lost Boys are cute and charming. Everyone sings with talent and skill. The entire cast meshes well and they look like they’re having fun on stage, fulfilling the promise of Peter Pan, which is to be a delightful dramatization of childhood fantasies.
I attended the Tuesday, January 7th show, and Jackson Hall was packed, families everywhere (most of the performances were almost entirely sold out). The children especially seemed to enjoy it. When Tinker Bell was dying of poison and Peter Pan asked the audience, “Do you believe in fairies?” A little boy a row or two behind me answered “Yes.” With children on stage, a familiar story, magical special effects, and the whole show lasting less than two-and-a-half hours with an intermission, this is the perfect show to introduce children to live theater.
While their run at TPAC is over, you can find more information about the tour at Tour Dates – Peter Pan.
The MCR Interview
Pianist Susan Yang and Her Upcoming Performance with the Nashville Symphony
Music City Review Journalist Brady Hammond speaks with Susan Yang on learning, teaching and playing the piano. Her strategies for practicing and the differences between performing a concerto, in a chamber group and solo recital. In the second half of the interview they discuss her upcoming appearance with the Nashville Symphony for their Second Annual Lunar New Year concert including the history, character and style of the work she is performing, Xian Xinghai’s Yellow River Concerto.
The Amazing Art Expo!
Pokemon, Yu-gi-oh, and Chainsaw Man, Oh My!
The Amazing Art Expo came to the Sheraton Hotel in Nashville on January 3rd-5th. The event featured art from anime, video games, Disney, horror films, Star Wars, Marvel, DC Comics, Harry Potter, Lord of the Rings, and more. In the time of AI, The Amazing Art Expo had a statement about the use of AI on the website: “All our art sold on our website and featured at our show was created by human hands and all made in the USA. We do not believe A.I. art is actually art and we stay firm with that decision.”
The Sheraton had a wonderfully large conference room all set up for the event. Filled with tables full of interesting art canvases and prints, there was lots to see. Even more fun were the people in cosplay. If you’re unfamiliar with cosplay, participants wear costumes and fashion accessories to represent a specific character from popular culture. I didn’t recognize most of the costumes because I don’t watch enough anime, but there were people with intricate makeup, wigs, and even tails! There was a cosplay contest on the 4th and the 5th and I was able to get there in time to see the winners on the 4th. First place prize went to Chainsaw Man, a character from a Japanese manga series written and illustrated by Tatsuki Fujimoto. Costumes had to be at least 40% handmade to win, and Chainsaw Man’s costume received cheers and applause.
This was a family friendly event where all are welcome. I saw lots of kids dressed up as comic characters and having fun. The vibe itself was very relaxed and friendly, with everyone milling about and looking at the art. Also present were some famous voice actors that have played multiple characters in popular anime: Eric Stuart (Seto Kaiba from Yu-Gi-Oh!), Darren Dunstan (Maximilian Pegasus from Yu-Gi-Oh!), Megan Hollingshead (Nurse Joy in “Pokémon), and Amy Birnbaum (Téa Gardner in Yu-Gi-Oh!). Although the event itself was free, it was $40 for an autograph with these stars.
Nastiya Grushovenko, a self-taught watercolor and oil artist, was there autographing her work and adding paint embellishments to canvases every day of the event. Grushovenko’s paintings have been exhibited in galleries and art shows nationally and internationally. One particularly fun painting of hers is of the Nazgûl from Lord of the Rings sitting around a table playing Dungeons and Dragons and eating pizza. You can check out her art on instagram @nastiya.g.art. The next time this comes to town, note that there’s a $20 VIP experience. You will receive one specialty 12″x16” premium paper print of your choice and have the chance to skip the lines with a one-hour early access to the event including the voice actors, art and artists before the doors open to the general public.
If you love fantasy shows, movies, anime, or games, this is a great way to spend a few hours. If you have a favorite character, you can bet there was at least one original painting/drawing featuring them. Next time they come to Nashville, be sure to check it out!
Coming to the Nashville Opera
H.M.S. Pinafore to Set Sail!
As the Nashville Opera prepares to stage H.M.S. Pinafore (formally titled H.M.S. Pinafore; or, The Lass That Loved a Sailor), the Music City Review is happy to offer a preview of this early gem from the Gilbert and Sullivan canon. Premiered May 25, 1878, Pinafore marks a significant milestone in the creative duos’ collaboration, showcasing their developing style that would come to define English comic opera and the eventual early-American stage.[1]
The comedic ethos of H.M.S. Pinafore draws heavily from poet and librettist William S. Gilbert’s (1836–1911) earlier work, namely his “Bab Ballads”—or the collection of whimsical verses he penned under the pseudonym “Bab”—published in the British humor magazine, aptly called Fun, during the latter half of the nineteenth century. These “Bab Ballads” provided a rich repository of characters, situations, and a clever brand of wordplay that Gilbert would later adapt well for the stage.[2] A good example is Pinafore’s “For He is an Englishman.” An excerpt:
For he might have been a Roosian,
A French, or Turk, or Proosian,
Or perhaps Italian
But in spite of all temptations
To belong to other nations,
He remains an Englishman!
The lyrics exemplifies Gilbert’s prowess of satirical wit, prioritizing linguistic dexterity over plot advancement. The song’s clever construction works on multiple levels, combining rhyme, rhythmic cadence, and playful word pronunciations—such as “Roosian” for Russian and “Proosian” for Prussian. The result is a chirpy, fun, and humorously illogical experience for which Gilbert and Sullivan’s unique style became widely known. More broadly, the example conveys an absurdist logic, suggesting that one’s nationality is a choice, poking fun at the exceptionalism prevalent in British Victorian society, while remaining innocent and retaining the song’s accessibility for audiences to enjoy.
Pinafore’s musical numbers offer comic relief while characterizing whoever is singing at the given moment. They reveal a glowing sense of nineteenth-century British national pride even as it satirizes it, demonstrating how Pinafore conveys complex ideas through a collection of silly songs. Gilbert and Sullivan’s use of immediate humor grants audiences’ permission to safely participate in the criticism of societal norms, which highlights the creative duo’s skills in joining humor with intellectual critique.[3]
Pinafore’s plot, while seemingly simple, cleverly subverts expectations of Victorian-era class and propriety. The love story between Ralph, a common sailor, and Josephine, the captain’s daughter, serves as a conduit to explore matters of social climbing and the arbitrariness of hierarchical status. The character of Sir Joseph Porter, the First Lord of the Admiralty, who got his position without ever having been to sea, is a blatant censure of bureaucracy and the power of privilege over merit.
While we have talked a lot about Gilbert, H.M.S. Pinafore marks a pivotal moment in Sullivan’s (Sir Arthur S. Sullivan, 1842–1900) evolution as a light opera composer. While the score still echoes elements of European operetta, it also heralds the emergence of a uniquely English musical voice. Sullivan skillfully intertwines traces of sea shanties and patriotic melodies, creating a distinctive sound. Pinafore’s musical repertoire spans from stirring ensemble pieces to delicate romantic duets, with each composition meticulously designed to complement Gilbert’s witty lyrics and give a sense of forward narrative motion. This careful balance of musical innovation and narrative support in H.M.S. Pinafore showcases Sullivan’s growing proficiency of the genre.[4]
A contemporary review from June 2, 1878 conveys Pinafore’s appeal expressed from both contemporary and current audiences: “They may laugh to their hearts’ content, and not be ashamed of what they are laughing at, as we shall now attempt to prove.”[5] Pinafore‘s incisive look at rigid class divides and unearned privilege still resonates today. In many ways, Pinafore paved the way for modern musical theater, proving that popular entertainment can showcase sharp social commentary without compromising its artistic merit. Gilbert and Sullivan masterfully blend humor and substance, creating a work that entertains while also challenging the status quo.
H.M.S. Pinafore—directed by Emily Pulley, conducted by Dean Williamson, and featuring the Nashville Opera—will run for three performances: January 24th and 25th, starting at 7:30 p.m. and a Sunday matinee on January 26th at 3:00 p.m. It will be performed at the Polk Theater in the Tennessee Performing Arts Center (TPAC) downtown, located at 505 Deaderick St.; Nashville, TN 37243. For further information about the Nashville Opera and this and other upcoming productions, visit their website at https://www.nashvilleopera.org/pinafore
[1] “The Beginner’s Guide to Gilbert and Sullivan,” English National Opera, 2025, https://www.eno.org/discover-opera/the-beginners-guide-to-gilbert-sullivan/. Accessed: Jan. 10, 2025.
[2] Jim Farron, “The Bab Ballads by W.S. Gilbert,” Gilbert and Sullivan Archive, Oct. 5, 2011, https://gsarchive.net/bab_ballads/bab_home.html. Accessed: Jan. 10, 2025.
[3] “The Beginner’s Guide….;” Farron.
[4] “Beginner’s Guide to H.M.S. Pinafore Songs,” English National Opera, 2025, https://www.eno.org/discover-opera/explore-more/beginners-guide-to-hms-pinafore-songs/. Accessed: Jan. 10, 2025.
[5] Sunday, June 2, 1878 review of H.M.S. Pinafore in London’s The Era; “First Night Reviews,” Gilbert and Sullivan Archive, Mar. 29, 2010, https://gsarchive.net/pinafore/reviews/op_com1878-80/era6-78.html. Accessed: Jan. 10, 2025.
Martha Graham returns to Nashville—at least in spirit!
On January 31 and February 1, as part of their amazing International Dance Series Season Package, the Tennessee Performing Arts Center (TPAC) is presenting the Martha Graham Dance Company. Founded in 1926 by its namesake, and celebrating their 100th anniversary with a three-year series of performances, the company is the oldest, and oldest integrated, dance company in the United States. Thus the current production is a somewhat Janus-faced expression of Martha Graham’s impact with two works (Appalachian Spring, and Immediate Tragedy) looking back to Graham’s classic choreographies while also presenting two choreographies of now and the future (We the People, and Cave) pushing Graham’s innovations into the 21st century. Quickly becoming the destination in the American (re. United States’) South for contemporary dance, Nashville is in for a real treat with this production.
It is difficult to overestimate the impact that Martha Graham has had on American Dance. Born in Pittsburgh, PA in 1894 and trained in the Denishawn School of Dance in California, she learned the exoticism of the day (Egyptian, “Oriental,” “Spanish”). Some of this she would demonstrate in her choreography for the film The Flute of Krishna (1926). She would appear in the vaudeville circuit and have her Broadway debut in the Greenwich Village Follies Review in New York. She then found employment at the Eastman School of Music in 1923. Three years later she established the Martha Graham Center of Contemporary Dance where she began to embrace the general aesthetic expressions of the modernist movement. In 1930 she stated:
“Like the modern painters and architects, we have stripped our medium of decorative unessentials.”
Her dance, from this inspiration, sought to express human feeling in the abstract, taking influence not only from the American Pioneer spirit, but also from the gestures of Native American and black cultures. These influences were of a colder, bracing, and objective approach that stripped the style of its sentimentalism. In a similar way, she wanted to redefine the female body in terms of rigor, power and intensity as opposed to the standardized beauty of the Romantic and Impressionist eras. The impact on the style was significant. Under the dancer’s feet, the floor would be a drumhead. The dancer’s breathing would be a process of contraction and release; a process upset in the passion of emotion. Generally, the music would be defined more in terms of its rhythm than its melody.
From 1929 through 1938, across the Great Depression, Graham composed twenty-one works for her then all-female company, including 36 of her own solos, most of which overtly carry an American topic objectively emphasizing ritual and identity. For the most part, Graham avoided contemporary political topics, but one of the exceptions to this include Immediate Tragedy (1937), which deals with the horrors of war and the impending threat of fascism (the Spanish Civil War had begun in 1936).
Immediate Tragedy (1937)
Immediate Tragedy’s music was composed by the great and eccentric composer Henry Cowell who wrote the score while serving time in San Quentin Prison on a morals charge. In prison, he was given Graham’s notes on the work’s mood, tempo and meter but no ideas with regard to time—how long a movement or section should last. Confronted with this huge difficulty he created an “elastic form” by writing phrases of varying length that could be fit to matching dance phrases. For her part in the collaboration, Graham’s dance was inspired by Pasionaria, aka Dolores Ibárruri, a hero of the Spanish Communist Party that would ultimately fail in its resistance of Franco.
One of Graham’s contemporaries, José Limón, described Graham’s performance of Immediate Tragedy at its premiere in Bennington, Vermont as a “…consummately sinuous torso, the supple beautiful arms, the hands flashing like rays of lightening.” John Martin, critic for the New York Times (August 15, 1937), described the dance as a “stunning achievement” whose message extends beyond its immediate context, “…let it be said at once that this will be a moving dance long after the tragic situation in Spain…for it has completely universalized its materials.” However, because her company never took up a performance of the dance, the choreography and its music are now lost.
However, cultural historian Neil Baldwin recently discovered a letter between Graham and Cowell describing the choreography, where Graham described her experience dancing it as “I feel driven, compelled and energized, […] I felt that I was dedicating myself anew to space, and that
“inspite of violation I was upright and I was going to stay upright at all costs.”
Perhaps even more miraculously, a role of film containing photographs from the premiere, taken by Robert Fraser, has emerged which gives poses, and their order, from the original dance (one example is in black and white, above). From these, Choreographer Janet Eilber and the contemporary dancers of the Martha Graham Dance company assembled a choreography from these images. (Documented here) Further, in constructing the choreography, they employed Arch Lauterer’s sky map of Graham’s dance (a map which traces from above the movement of Graham throughout the dance). For the music, Christopher Roundtree created a new “open” score based on the Baroque dance Sarabande whose rhythms we know characterized Cowell’s original score, but also with parameters to accommodate its performance over zoom (the entire project was completed during the pandemic). What Nashville’s performance might have in common with the pandemic era performance remains to be seen! Original performance here
Appalachian Spring (1944).
Across the 1930s Copland and Graham were simultaneously and separately developing an artistic vocabulary for the expression of Americana. Copland’s work, particularly, was built on a relatable and accessible language whose purpose was to connect with the general public. By the time he began to work with Graham, he had enjoyed widespread, mainstream appeal for his ballets Billy the Kid and Rodeo. The way that Graham and Copland worked together, this ballet perhaps best clarifies the artistic intentions and Americana style behind both artists’ work, resulting in a work that would become central in Graham’s repertoire, and (especially when arranged into an Orchestral Suite), one of Copland’s most memorable works.
The setting of Appalachian Spring is a wedding on the American frontier, yet the dance itself functions not as part of the ritual but instead as a character soliloquy. With each character’s solo dance, the action stops so that the dance may express individual character and emotions contrasted sharply with the clarity and spaciousness of an American frontier. The expression is beautiful and yet quite sophisticated. In the Bride’s two solos look, for example, not only for her bliss at the idea of marriage but also her apprehension of her future to come. Throughout, look for the subtle influence of country dancing on Graham’s choreography and listen for the wide open spacing of Copland’s orchestra.
We the People.
Appropriately, the production offers a 21st century take on Americana and the American identity with We the People, a choreography by Jamar Roberts, who is a former dancer and resident choreographer for the Alvin Ailey American Dance theater (who we saw in Nashville just last year). The music was written by Rhiannon Giddens and arranged by Gabe Witcher. Giddens, a Greensboro NC native who is known for her eclectic folk music, just performed with the Musicians of the Silkroad Project at the Schermerhorn last November. Roberts has characterized the ballet as: “…equal parts protest and lament, speculating on the ways in which America does not always live up to its promise. Against the backdrop of traditional American music, We The People hopes to serve as a reminder that the power for collective change belongs to the people.” While many things regarding the American identity appear to have changed, the juxtaposition of the two works (Appalachian Springs and We the People) might just prove to be even more powerful.
Cave.
Martha Graham was an innovator, taking cultural expressions and incorporating them into her developing artistry often in the face of the taste of her critics. Cave’s first conception occurred when Daniil Simkin, an internationally recognized ballet artist suggested to the Graham dancers that a work might take inspiration from the techno club scene. Israeli choreographer Hofesh Schechter was invited to create a prelude to the idea in a dance which has been described as combining “the transcendent with the communal.” Like Graham’s works, Simkin’s is not immune to controversy.
A rather grumpy and confounded Gia Kourlas of the New York Times described Cave in 2022 as “…little more than manufactured fun, […] little more than a series of flash mobs, in which the men increasingly threw themselves into the action — [while] the women – bouncing, undulating and spinning, transformed into a coven of spirits.”
In 1945, one Norman Nairn wrote of Appalachian Spring in the Rochester Democrat and Chronicle “Martha Graham and her dance company came to the Eastman last night and left a large audience completely bewildered… I presume the movements [in Appalachian Spring] were expressive of something, but of what I wouldn’t know. Presumably it was their introduction to the modern dance, the new form as evolved by Miss Graham. If there was one person in the whole auditorium who understood what it was all about, diligent search failed to unearth that person.”
Indeed, due to the work of the great Lula Naff, Graham’s company, including Erick Hawkins (pictured above) came to Nashville and performed at the Ryman (the “Carnegie of the South”) in 1949 at the height of segregation. The Nashville Banner announced ten days before that “Some 200 seats in Section 7 at the Ryman Auditorium “…have been reserved for students of A&I State College, Meharry Medical School and Fisk University.” It was an event for the entire city and memorable enough for both Graham and Tennessee that she returned to perform at the Tennessee Tech gymnasium in Cookeville the next year. Writing for the Banner (2/19/1949), critic Sydney Dalton characterized the troup’s performance in Nashville as “…often its meaning and point were anything but clear. At times it was dull and its exaggeration smacked of the grotestque.” It is a remarkable fact that the Martha Graham Dancers have consistently confounded and bewildered critics for nearly a century. I, for one, can’t wait for my opportunity to be bewildered, TPAC is to be commended for bringing the troupe to town! The Martha Graham Dance Company appears at TPAC’s Polk Theater on January 31-February 1. Tickets are available here.
Photos and Finery at Cheekwood: Former White House Florister Laura Dowling in Nashville
People often talk about moving from the sublime to the ridiculous, but my visit to Cheekwood worked the other way around. Driving down Page Road toward the great mansion and grounds, I saw a yard filled with blow-up characters. A giant Santa had fallen over, partially, but since air was still pulsing, it looked as if he were doing modified push-ups. A few yards later, right out front, there was a blow-up outhouse with a smaller Santa coming out the open door. The whimsy was a welcome addition to the holiday season.
Touring the Cheekwood mansion represented a more elegant aspect of the holidays. Laura Dowling, former head floral designer for the Obama White House, marshalled a score of local volunteers to decorate the second-floor rooms at Cheekwood. With her decades-long study of French floristry—the art of floral design and presentation—she and her acolytes did Nashville proud.
My sister, Sharon Kendall Roberson, and my niece Vivian Syroyezhkin, a writer, accompanied me on this holiday trek. Many know Sharon locally as CEO of the YWCA Weaver Center, the largest shelter for victims of domestic violence in Tennessee. Neither my sister nor Dowling knows the other, but the similarities are uncanny.
Like Dowling, Sharon, a graduate of Vanderbilt Law School, has been a major executive figure in a large non-profit aiding society. Also, like Dowling, Sharon has had a longstanding love of creative elegance in décor for home, hearth, and holiday events. Her self-taught expertise in floristry and design inherited, as with Dowling, in part from an artistic mother, was invaluable to my neophyte’s understanding of the nature and artistic trends found in some of the gorgeous displays created by Dowling and her staff of volunteers.
Three featured rooms on the second floor were representative of Dowling’s work as seen in the White House and elsewhere. That floor was reached by a decorated stairway whose gold- and bronze-tinted berries and leaves beautifully complemented the mansion’s cascading linear chandelier.
The Dining Room, designated “Fanciful Garden” was a sumptuous dinner presentation replete with ornate china place settings, a lush floral centerpiece, and lush bouquets on the sideboard, with wreaths, trees, and mantlepiece trimmings, all in delicate shades of cream, lavender, and green. This was the epitome of French floristry style.
The Morning Room was, in many ways, an exhibit like the best children’s books, fascinating aspects for the inexperienced, deeper understanding for the knowledgeable. Four trees, all in snowy shades of pearl, silver, and gold, subtly accented with clusters of red berries, surrounded the main tree. These four were each sprinkled with twinkling lights whose illumination was caught by the metallic balls and glittery transparent crystals on the central “untwinkled” tree, giving what my sister identified as a falling “snowflake effect.” In another practical technique with artistic results, the surrounding trees were raised onto boxes to better display the embroidered trim of the tree skirts.
The Loggia, enclosed by framed glass doors, included three slender trees, one with bright balls of widely varied sizes in tones and shades of orange. This use of bold colors is seen as particularly American among international floristers. And as part of Dowling’s signature of natural, less formal elements, delicate tendrils of branches, leaves, and berries peeked out here and there.
One other signature of Dowling’s imaginative approach to her art is the topic of one of her four books, Wreaths: With How-To Tutorials. But this was not the traditional round wreath hightlighting Christmas colors of green and red or cinnamon shades of autumn, but instead, a square wreath in what would be cheery shades of yellow were it not so strikingly large.
While the grandeur and artistry of the exhibits matched the grandeur of the mansion, I could have wished for a bit of lightheartedness, not Santa in the outhouse style, but a bit of whimsy to temper the opulent stateliness in each of the mansion’s spaces, but that is the merest of quibbles. The exhibit, open until January 5, 2025, is a wonderful exemplar of what we often Southerners call, “a gracious plenty.”
Two more things: for a more detailed conversation on Dowling’s philosophy and practice of the floral art, see the MCR Interview on YouTube. Also, while at Cheekwood, don’t miss the photo exhibit of Christmas décor at the White House from first ladies Jacqueline Kennedy through Michelle Obama. The pictures of Big Bird with Pat Nixon, Aretha Franklin with Barbara Bush, and Mr. T in a sleeveless Santa suit with Nancy Reagan are particularly entertaining. Plenty of whimsy there.
Coming in the New Year!
The Jazz Beat — January, 2025
This Month’s Highlights
Here you’ll find the shows and events this month that I think are the real standouts, unique events that you won’t find every day in the city. Here you’ll find the shows and events this month that I think are the real standouts, unique events that you won’t find every day in the city.
Colleen Orender – Wednesday, January 8 – 9:00 PM (The 5 Spot)
Nashville-based vocalist Colleen Orender is a “sultry jazz dream with pop sensibilities,” blending effortlessly the classic sounds of jazz with modern pop.
Crooked Rhythm Band No. 1 – Saturday, January 11 – 8:00 PM ($24) (Rudy’s)
This band is a rather unique project featuring some of Nashville’s most accomplished musicians, with a focus on expanding the possibilities of rhythm. The members combine all their wide range of influences, including collaborations with Antibalas, The Black Keys, Dr. Dog, J. Cole, and many others. The music pays tribute to the rhythmic brilliance of the late Fela Kuti while expanding into an original sound. The band features Jake Botts (sax), Ray Mason (trombone), David Linaburg (guitar), Alec Newnam (bass), Raynier Jacildo (keys), Eric Slick (drums), and Brandon Newsome (percussion).
Chrisette Michele (2 shows) – Saturday, January 18 – 6:00 PM & 9:30 PM ($62-75) (City Winery)
Singing a mixture of R&B, Soul, and Jazz, vocalist Chrisette Michele is a Grammy winning artist. At this show you’ll hear some of the singer’s brand new music, as well as some of her classic tunes like “A Couple of Forevers,” “Love Is You,” and more.
Isaac Eicher Quartet – Saturday, January 18 – 8:00 PM ($18) (Rudy’s)
For a more unique jazz experience, check out the Isaac Eicher Quartet. Eicher is a mandolinist and a rising star in the acoustic jazz scene. His quartet features prominent local players Giovanni Rodriguez on bass, Jesus Agreda on drums and Will Barrow on piano. They will perform many of Eicher’s original compositions as well as some classic jazz favorites.
John Arrucci – Friday, January 24 – 7:30 PM ($35) (NJW)
Percussionist and composer John Arrucci makes his Nashville debut with his quartet, which he will lead on vibraphone. The group also features Josh Karas on piano, Thomas Altman on bass, and Brian Czach on drum set. Arrucci has performed all over the world, and lists performances or recordings with names such as Michael Brecker, Mariah Carey, David Byrne, and many more on his resume.
Cam Gallagher & the Tasty Soul – Tuesday, January 28 – 8:00 PM (The Basement)
I always feel I should mention this band at least once in these columns because I really love their energy. Led by saxophonist Cam Gallagher, the band is comprised of young and energetic musicians bringing jazz and funk music to the everyday Nashville scene.
Mei Semones – Tuesday, January 28 – 8:00 PM (Ryman Auditorium)
Though this is a supporting act (for Hippo Campus’s tour), I thought I would mention this artist as I really enjoy her mixture of jazz into her pop-oriented music. You’ll hear the influences of classic jazz vocal performances in her style of guitar-vocal combination.
Sungazer – Wednesday, January 29 – 7:00 PM (The Vinyl Lounge)
Jazz fusion electro-progressive band Sungazer describe themselves as “Animals as Leaders meets Nerve meets Xenakis.” A highly original and experimental group, I think any fan of modern jazz and fusion music would be interested in this show.
Altin Sencalar Quartet – Friday, January 31 – 5:30 PM ($15)
Highly acclaimed NYC-based trombonist Altin Sencalar remains in high demand across the country as a performer, educator, and composer. He has shared the stage with such names as Christian McBride, Michael Bublé, The Four Tops, David Sanborn, and many others.
Analog at Hutton Hotel
Analog Soul (multiple shows) – Sundays, January 5 & 19 – 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. Both shows this month will feature Will Davenport and The Smoke Show. These shows are 21+.
Analog Soul Presents Sunday Serenade w/ Anthony Q – Sunday, January 19 – 12:00 PM ($20-50)
The Analog presents a special brunch edition of the Analog Soul series, featuring soul and blues artist Anthony Q from Memphis. $20 gets you General Admission, $40 gets you GA with the continental breakfast, while the highest tier at $50 will get you all this plus bottomless mimosas.
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
Jeff Bradshaw – Sunday, January 5 – 7:30 PM ($35-45)
Rescheduled from last year, this show was featured in our November edition. Bradshaw is a Grammy nominated jazz and soul trombonist who is returning to the road after a long hiatus.
Chrisette Michele (2 shows) – described above
Derrick Hodge – Monday, January 27 – 7:30 PM ($20-32)
Prolific composer, bandleader, bassist and producer Derrick Hodge has been featured on some of music’s most iconic albums and composed or arranged an extensive catalog of music, including film and television scores. He has been awarded two Grammy’s and named a Sundance Composer Fellow.
Najee (2 shows) – Friday, January 31 – 6:00 PM & 9:30 PM ($48-65)
Saxophonist and composer Najee graces the Main Stage. Najee’s career has now spanned more than three decades, and has featured Gold-selling records
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
David Rodgers “Home” Album Release – Saturday, January 11 – 7:30 PM ($35)
Pianist and composer David Rodgers returns as bandleader for the first time in more than a year to celebrate the release of his third studio album “Home.” The show will feature his longtime musical collaborators Emmanuel Echem on trumpet, Jay White on bass, and Marcus Finnie on drums. Originally from California, Rodgers is now based in Nashville and has shared the stage or studio with names like Peter Frampton, Keb Mo, Taj Mahal, Ricky Skaggs, and many m
MTSU Faculty – Saturday, January 18 – 7:30 PM ($35)
The jazz faculty of MTSU come to the Cave to present an evening of swinging music. The combo will be led by Jazz Program head Jamey Simmons on trumpet and flugelhorn and will feature Don Aliquo on saxophone, Desmond Ng on trombone, Julia Rich on vocals, Jack Aylor on bass, Pat Coil on piano, and Miles Damaso on drums.
John Arrucci – described above
John Alvey Album Release – Saturday, January 25 – 7:30 PM ($35)
Drummer John Alvey makes his NJW debut to perform music from his album “Loft Glow,” which features Nashville mainstay musicians Roland Barber (trombone), Joel Frahm (tenor sax), Jovan Quallo (alto sax), Matt Endahl (piano), and Jacob Jezioro (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.
Abigail Flowers – Friday, January 3 – 5:30 PM ($14)
Flowers is widely considered one of Nashville’s finest jazz vocalists, and is known for here ukulele playing as well as her ability to sing in a number of different languages, including French, Spanish, Portugues, Italian, and Hawaiian.
Jamey Simmons Sextet – Friday, January 3 – 8:00 PM ($23)
Trumpeter, composer, arranger, and educator Jamey Simmons appears at Rudy’s leading a sextet, featuring compositions using the classic sound of the great 3-horn jazz groups. The group will feature Don Aliquo (sax), Desmond Ng (trombone), Pat Coil (piano), Jack Aylor (bass), and Jordan Perlson (drums).
Pat Bergeson Trio (2 shows) – Wednesdays, January 8 & 22 – 6:00 PM ($13)
Originally from Illinois, guitarist and harmonica player Bergeson was brought to Nashville by Chet Atkins after a decade in NYC. Bergeson then appeared on two of Atkins’ recordings, after which he worked with a number of industry legends, including Dolly Parton, Johnny Cash, Tommy Emmanuel, and many others. He now presents his own trio featuring Charles Treadway and Chris Brown.
“Jazz Fusion” w/ Mr. Mayo – Thursday, January 9 – 9:00 PM ($14)
Jazz fusion group Mr. Mayo presents an evening of quintessential fusion music, featuring classics from the repertoire from the likes of Allan Holdsworth, Marcus Miller, Herbie Hancock, and others, as well as original compositions from the four fusion fanatics that comprise the band. Kent Crawley on guitar, Matt Twaddle on keys, Leland Nelson on bass, and Jake Robinson on drums.
Ellisa Sun – Friday, January 10 – 5:30 PM ($15)
Guitarist Ellisa Sun is an original artist combining elements of R&B, soul, jazz, and bossa nova in her music, some of which has been featured in major TV shows like “LA’s Finest,” “Dollface,” and “Kung Fu.” Her debut full-length album was released in February 2024 after a successful crowdfunding campaign.
ACE Horns – Friday, January 10 – 8:00 PM ($23)
This trio of horn players returns to Rudy’s with their original group. Roy Agee (trombone), Evan Cobb (sax), and Emmanuel Echem (trumpet) worked together as touring and session musicians for many years before forming their own group, presented here. The trio is backed up by a rhythm section featuring Jon Cowherd, Akil Thompson, and Marcus Finnie.
Jose Gobbo Trio – Friday, January 10 – 11:00 PM ($10)
Brazilian guitarist Jose Gobbo returns with his trio featuring Max Beckman on bass and Jay Ferguson on drums. Gobbo now teaches in Illinois, but has appeared all over the country in performances and competitions. He now makes regular appearances at Rudy’s.
The Ted Ludwig Quartet – Saturday, January 11 – 5:30 PM ($16)
Highly acclaimed New Orleans seven-string guitarist Ted Ludwig performs with his quartet.
Crooked Rhythm Band No. 1 – described above
Alec Newnam Quartet – Saturday, January 11 – 11:00 PM ($10)
Originally from New Jersey, bassist Alec Newnam was born to musician parents who worked with Frank Sinatra, James Brown, Tony Bennett, Ray Charles, and more, so music has been an intrinsic part of his life since he was born. Now based in Nashville, Newnam has made a name for himself in his own right, having performed with greats like Jeff coffin, Rory Hoffman, Rahsaan Barber, and more, and performed multiple times on the Grand Ole Opry stage as well as at the Ryman. His quartet features Kevin Gatzke on tenor sax, Bill Alexson on piano, and Nate Felty on drums.
Ladies of Jazz – Sunday, January 12 – 6:00 PM ($18)
Another Ladies of Jazz show at Rudy’s, featuring an excellent lineup of Nashville women, including Wendy Burns, jazz flutist and vocalist, and Roz Clark-Thompson, a highly acclaimed jazz vocalist who performed the Tony Award winning role of “Aunt Em and Glenda the Good Witch of the South” in the Broadway musical “The Wiz.”
The Music of Thad Jones w/ the Bruce Dudley Quartet – Thursday, January 16 – 9:00 PM ($15)
All-star Nashville pianist Bruce Dudley presents a special concert featuring the music of legendary trumpeter and composer Thad Jones. The show will be in quartet format, featuring Don Aliquo on sax, Rob Linton on bass, and Ryan Brasley on drums.
Marc Payne Trio – Friday, January 17 – 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.
Isaac Eicher Quartet – described above
Coffin/Perlson/Krauss w/ Jon Cowherd & Rod McGaha – Saturday, January 18 – 8:00 PM ($28) Saxophonist and industry legend Jeff Coffin leads an all-star powerhouse group of some of the best jazz musicians in the business today. These names practically need no introduction as they are mainstays here in Music City. The group features Jordan Perlson on drums, Viktor Krauss on bass, Jon Cowherd on keys, and Rod McGaha on trumpet.
Sarah Jane Nelson – Sunday, January 19 – 6:00 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”.
Lyle Mays Tribute w/ the Pat Coil Quintet – Thursday, January 23 – 9:00 PM ($14)
Prominent Nashville pianist and Rudy’s regular Pat Coil leads a quintet for a special tribute to Lyle Mays, with whom Coil had a personal and professional relationship. Along with Pat Metheny himself, Mays was the other powerhouse that drove the Pat Metheny Group, composing and arranging a huge portion of the group’s music. This quintet will feature Danny Gottlieb, Beth Gottlieb, Craig Nelson, and Don Aliquo.
Jerome Degey Jazz Quartet – Friday, January 24 – 5:30 PM ($15)
Degey is a Nashville-based guitarist originally from Paris, France. His family heritage also features Afro-Caribbean roots, and together with his longtime interest and study of Brazilian culture, these influences create a rather unique musical blend. This quartet will feature Don Aliquo on saxophone, Danny Gottlieb on drums, and Charles Treadway on keys.
The Aaron Lessard Group – Friday, January 24 – 11:00 PM ($10)
Jazz and fusion guitarist Aaron Lessard returns to Rudy’s with his trio, featuring Brook Sutton on bass and Nioshi Jackson on drums.
MILEStones: Tribute to Miles Davis – Saturday, January 25 – 5:30 PM ($20)
This Miles tribute act returns to Rudy’s, now under the leadership of drummer Brian Czach. The quintet is made up of some of Nashville’s top jazz talent, and pays special attention to the two “great quintets” Davis led in the 50’s and 60’s.
Walters, Sutton & Brown – Saturday, January 25 – 8:00 PM ($20)
A special jazz trio presented by three of Nashville’s top players. Chris Walters is a pianist who served as music director for Barbara Mandrell and toured with the band Alabama for many years, among many other positions he has held. Brook Sutton is a bassist with an accomplished stage and studio career. Chris Brown is one of Nashville’s most sought-after drummers who players constantly throughout town.
Will Padgett Trio – Saturday, January 25 – 11:00 PM ($10)
Pianist Will Padgett brings his trio to Rudy’s, featuring Thomas Altman on bass and Brad Covington on drums. The group will present some of Padgett’s original compositions, which can be heard in a number of different mediums, including TV, video games, film festivals, advertisements, and more.
Crystal & Friends – Sunday, January 26 – 6:00 PM ($15)
Soulful jazz vocalist Crystal Miller returns to the Rudy’s stage once again to offer her moving interpretations of classic music.
Rebecca Carlson – Thursday, January 30 – 9:00 PM ($14)
Jazz and blues vocalist Rebecca Carlson has made a name for herself across the country, taking stints based in New York City, Tucson, Los Angeles, and now Nashville. An extensive touring and recording career has made her quite an in-demand performer.
Altin Sencalar Quartet – described above
Sofia Goodman Group – Friday, January 31 – 11:00 PM ($10) Award-winning Nashville-based drummer and composer Sofia Goodman returns to the Rudy’s stage. Her music has been highly praised by publications like DownBeat magazine, as well as industry titans like Jeff Coffin.
Rudy’s Regulars
PT Gazell & The Side Effects – Thursday, January 2 – 9:00 PM ($12)
Jazz harmonica player PT Gazell brings his band back to the Rudy’s stage.
Don Aliquo (multiple performances) – Friday, January 3 – 11:00 PM ($10) & Friday, January 31 – 8:00 PM ($23)
One of Nashville’s most active and accomplished saxophonists, Aliquo will be leading performances twice this month, the first in trio format and the second in quartet. This quartet performance will feature prominent NYC jazz pianist Michael Jefry Stevens.
Bruce Dudley Trio – Saturday, January 4 – 5:30 PM ($16)
Bruce Dudley is a Steinway Concert Artist who has over 40 years of experience performing jazz all throughout North and South America. He has recorded a number of albums as bandleader, as well as performed with big industry names like Aretha Franklin, Herb Ellis, and Crystal Gale. The trio will feature Jim Ferguson on bass and Josh Hunt on drums.
Jody Nardone Trio – Saturday, January 4 – 8:00 PM ($22)
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 (2 performances) – Saturdays, January 4 & 18 – 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.
Sully’s Swingin’ Sunday Supper – Sunday, January 5 – 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.
Viktor Krauss – Monday, January 6 – 6:00 PM ($10)
Viktor Krauss is a bassist that has called Nashville home since 1992, and has over 600 credits to his name as either bassist, composer, or producer.
Re-Evolution – Mondays, January 13, 20, 27 – 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.
Bizz Bigsby – Wednesday, January 15 – 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.
Cliff Richmond & the CliffNotes – Friday, January 17 – 5:30 PM ($14)
Guitarist and vocalist Cliff Richmond’s band always features some of Nashville’s top talent, and presents a great blend of soulful, swinging, and funky jazz.
Pat Coil’s “Music for Humans” – Friday, January 17 – 8:00 PM ($21)
Renowned Nashville pianist Pat Coil will perform this month with his special act Music for Humans, which will feature Jovan Quallo on saxophone, Hunter Strasser on guitar, Brian Allen on bass, and Wes Little on drums.
Stephanie Adlington – Friday, January 24 – 8:00 PM ($23)
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.
Dana Robbins Quintet – Wednesday, January 29 – 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).
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 (bass/vocals), Melvin Macias (piano/vocals), Jesus Agreda (Timbales), Lorenzo Molina Ruiz (Trumpet), and Manuel ‘Manotas’ Ramierez (multi-Percussion).
Regi Wooten & Friends – Every Wednesday (except January 1) – 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.
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
The Guthrie Trapp Trio – Every Monday – 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.
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.
Mr. Mayo w/ Candid Antics – Friday, January 10 – 9:00 PM ($10)
Featured in the Rudy’s section above, jazz fusion group Mr. Mayo presents an evening of quintessential fusion music, featuring classics from the repertoire from the likes of Allan Holdsworth, Marcus Miller, Herbie Hancock, and others, as well as original compositions from the four fusion fanatics that comprise the band. Kent Crawley on guitar, Matt Twaddle on keys, Leland Nelson on bass, and Jake Robinson on drums. They will be supported by Candid Antics.
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!
Nightly Jazz at Skull’s Rainbow Room.
Start 2025 with Peter Pan!
Already almost entirely sold out, Broadway’s Peter Pan is coming to TPAC to start 2025 off with fairy dust and pirates! This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought back to life in a new adaptation by playwright Larissa FastHorse, directed by Emmy Award winner Lonny Price and choreography by Lorin Latarro. Peter Pan features iconic and timeless songs including “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.”
The adventure begins when Peter Pan and Tinker Bell visit the bedroom of the Darling children late one night. With a sprinkle of fairy dust and a few happy thoughts, the children are taken on a magical journey they will never forget. Your entire family will be Hooked!
Peter Pan will be at TPAC’s Jackson Hall January 7-12. For tickets and more information, see Peter Pan | Tennessee Performing Arts Center.
Over in OZ:
Symphony of Rats by The Wooster Group reaffirms the Nashvillian thirst for unconventional stage work
A home committed to international contemporary and experimental stage work; last weekend OZ Arts hosted the first ever staging of The Wooster Group’s productions in the south of the U.S. with Symphony of Rats.
Why is this monumental? The Wooster Group, a theater company based in New York City, can easily be named as the trailblazers of the avant-garde theater not only in the country but wider. Despite a few local endeavors to bring to the fore speculative approaches to experimental theater, most of which pass through the filter of Kindling Arts Festival once a year, Nashville doesn’t get much exposure to theater or performance works that challenge the normative forms. Most likely due to a mixture of good marketing efforts and a thirsty audience for unconventional performances, the tickets for the first two showings of Symphony of Rats were sold out. As it should be!
The Wooster Group is an invaluable asset worth being studied with awe, not only for their advancement and novices in experimental theater and performance, but for also stoically operating through the winds of socio-political climates that have affected the (lack of) financial support to arts. Over a period of almost half a century (since 1975), they have maintained and refined their collective artistic voice, reimagined classical works, from Phaedra by Jean Racine to The Crucible by Arthur Miller and have become kick starters for the careers of many renown stage and movie artists, including Willem Dafoe who was a founding member, Frances McDormand, and Steve Buscemi, to mention a few. What’s exemplary about The Wooster Group is also how carefully they document their scope of operation, an incredible archive of which can be found on their website.
Staged by the director of the ensemble since its inception, Elizabeth LeCompte and co-founder and performer Kate Valk, Symphony of Rats was first produced at The Performing Garage in 1988, directed by Richard Foreman, the acclaimed American avant-garde playwright and the founder of the Ontological-Hysteric Theater who also wrote the play. It is not easy to speak about the narrative of Symphony of Rats because Foreman isn’t interested in clear meanings, and neither is The Wooster Group. Both pairs are keener on subverting narratives and freeing the audiences from constraints of logical denotations. In a broad premise, the President of the United States (played by Ari Fliakos) takes a pill which helps him receive messages from a different dimension. Whether this is outer space, a moronic or higher state of vindication or the depths of the hallucinatory imagination, it never becomes clear nor is the purpose of the play and the restaging.
The president’s aides (played by Niall Cunningham and Andrew Maillet) or as Valk put it, his “otherworldly looking stagehands” do everything possible to assist the president in reaching this obscure realm. Aside from the aides, there are three other characters on stage: I’ll interpret them as ‘the lab rat’ (played by Jim Fletcher), ‘the voice of clarity or reason’ (played by Guillermo Resto) and ‘the stage bot’ (played by Michaela Murphy) who is also the Assistant Director and the Stage Manager of the performance. The stage design which contains many props that according to LeCompte have been reused from previous performances, not only due to lack of funding but also as an initiative to Reduce-Reuse-Recycle as well as costumes (designed by Antonia Belt) resemble a messy transcendental laboratory with homoerotic features. What adds contrast and humor to the chaotic action on stage are the unambiguous and clear-cut sound cues (sound design/music by Eric Sluyter) and the light nucleuses (designed by Toni-award winning Jennifer Tipton and Evan Anderson), thus comprehensively granting the performance a satisfying equilibrium.
During the post premiere day conversation at OZ Arts, Valk spoke about how her appearance as a performer in Foreman’s staging of Symphony of Rats in 1988 had left a subconscious desire to continue the dialogue with this “play with an open and indirect language” which motivated her to bring in back, this time in the role of the co-director. Valk spoke of wanting to rethink the play in a way that was truthful to Foreman’s language but unrecognizably different from his staging, which was Foreman’s hope as well when The Wooster Group approached him wanting to restage it. Unlike Foreman who had balanced the role distribution to two male and two female identifying actors, where the roles of the actresses were narrowed down to those of the entertainers of the president, this staging has a single female character (Michaela Murphy) who the directors described as an android. During the performance, her back is mostly turned to the audience, she moves props around the stage and serves as a mechanical sex object. When I asked if this was deliberate, LeCompte confirmed, also adding that the highest state of the woman present on stage is that of Alexandra, the digital human icon with a female voice, who rests in the higher realm of being, where the president in fact would like to be.
The precision of coordination between the performers, the sound and light cues, the video works, which show a variety of indicative imagery, from parts of the president’s body being scanned under an ex-ray machine to scenes from the antihero/supervillain movie Suicide Squad to which the actors on stage dub a perfectly synchronized soundscape, are a testament to the assiduous preparations and hard work put into staging Symphony of Rats. Periodical rehearsals for it lasted between December 2021 to its premiere in March 2024. LeCompte and Valk didn’t hesitate to reveal the function of the monitors that were present on stage and above the audience where the actors were receiving audio-visual material that they had rehearsed responses to, one of it being LeCompte’s sister’s hand gestures which she had filmed a few days ago to which the president’s character was responding to. Valk further clarified that the monitors allow the actors to free themselves from conscious embodiments of certain ways of acting, thus enabling them to reinvent something new yet fleeting during each performance.
The sense of humor, clarity, and modesty with which LeCompte, Valk and Tipton shared their experiences of working together, their openness to share mishaps and shortcomings, their capacity to maintain a confrontational and challenging conversation by putting each other on the spot but also giving credit and putting each other on the spotlight, demonstrate nothing less than an organic process of working together that is filled with passion and respect. Symphony of Rats was a treat, an inspiration for theater makers to free their minds, and audiences to question what they consider theater, but so was the artist conversation following the premiere, a rare opportunity to be in direct contact with the foremothers of the American avant-garde theater.
