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.
Understanding how Nashville Operates through
The Soundwaves Gallery: “The He(art) of Nashville”
Versión en español aqui
Since 2021, The Nashville Soccer Club (Nashville SC) and the Arts & Business Council of Greater Nashville (ABC) have collaborated on different community arts initiatives, like the Soundwaves Gallery. This project has showcased the work of countless local Nashville artists in the premium club areas of GEODIS Park. On May 6th, I had the opportunity to tour the current collection titled, “The He(art) of Nashville,” with two featured artists, Omari Booker and Arash Shoushtari (artist name IMGRNT), who provided valuable context to the relevance of their works in the gallery. We were also joined by Jill McMillan Palm and Jennifer “Ennie” Brosius, the executive director and program manager of ABC, as well as Kensi Juskiewicz, the communications coordinator at the Nashville SC. Their discussion helped me to understand the significance of the collaboration of the Nashville SC, GEODIS Park, and ABC as an important point-of-reference for the interaction of art and identity in Nashville.
The gallery consists of 44 works from 44 local artists across several different mediums like oil on canvas, fabric on wood board, and even fused glass. The works span an entire hallway, beginning with abstract works, then moving towards portraits and landscapes. One of the first works to strike me was Love Story by Jennifer Haston. A mixed-media work featuring different colored silhouettes of real people from Haston’s life over sheet music, it is a unique representation of how these different people work together to create a harmonious life experience, uplifting and supporting one another. The vibrant blues, pinks, and reds over the distressed sheet music create a distinct juxtaposition between expectation and reality. There is never any color to sheet music, only white and black, yet the combination here is fitting. The piece that these figures are printed over is titled, “Love Song,” further embracing the notion of love and peace as a shared effort.
Works like Nightlights by Rhiannon Guppy and Petrichor by Will Maddoxx follow, using bright colors to develop the idea of Nashville’s community and nightlife as both a blur, but also something controlled and focused. Max by Carrie DePauw and Glass Kite by Lauren B. are works that use color to represent the individuality and warmth that makes up the Nashville community. These two artists, as well as Jennifer Haston, are part of the Friends Life Community (FLC), which is a Nashville organization that “provides opportunities for individuals with developmental disabilities to grow, develop, and be active members of the community.” The gallery features many artists from different cultures with different backgrounds and different stories – this is an extremely important idea of this project. Our differences should be what bring us together and deserve to be represented. These identities are Nashville. There could not have been better representatives of this idea than the two artists I had the chance to speak with, Booker and IMGRNT.
BWGRS is a triptych from a larger 7-panel work that draws inspiration from Persian textile patterns to create a mesmerizing visual and provide an outline for a deeper element of storytelling. In this piece, IMGRNT tells the story of his two uncles, represented by red and green diamond shapes, connected by a vertical gold line. Their story is a deeper reflection of the artist’s Iranian roots, as well as the immigrant experience, two themes that are present through the artist’s visual and performative works. It was interesting to me how well the three panels worked together, though taken from a larger work – IMGRNT explained how the triptych was always present in the work. This adaptability is an important component of his art and helps expand upon the artist’s interest in immigrant communities as growing in significance to Nashville’s identity. As previously mentioned, IMGRNT also does performance art, as a more direct and explicit form of representation for immigrants and the immigrant experience – his War & Beat (in A natural Minor) was discussed in a previous Music City Review article that covered the Kindling Arts Festival in 2024.
Alex and Ash is the featured work of Omari Booker, a multidisciplinary artist based in Nashville, TN and Los Angeles, CA. In this work, Booker paints the scene of Alex Lockwood and Ash Atterberry, two prominent members of the North Nashville art community, from a recent meeting at Elephant Gallery. a Nashville art gallery that Alex opened around 2016. Though a very real image, this painting is dreamlike – the blue highlights around Alex’s eyes and throughout the piece and its color spread are standout elements that add to the work’s lively nature. Booker described how his art is heavily influenced by his “surroundings, family, and friends,” and a deeper story revealed itself. For these galleries, artists can submit up to 5 pieces. Many submit preexisting works, while others create specifically for the theme of the gallery. Alex and Ash was the only work that Booker submitted, but perfectly encapsulated the idea of Nashville art, not only being diverse, but also self-sustaining and connected. Booker discussed how he felt Alex and Ash are important artistic role models for not only himself, but Nashville as a whole, as their focus on art from local and regional artists as a reflection of Nashville’s true creative identity is an important distinction, especially in a time and place where gentrification has had a significant impact on the arts and black communities.
The Soundwaves Gallery is displayed for the entire season of the Nashville SC, starting in February, and is shown on various stadium tours throughout the year. Its inclusion at GEODIS Park captures the point of the stadium being a place of unity for all of Nashville, bringing people from all walks of life together to enjoy their shared interest in soccer. ABC and the Nashville SC are working together on newer projects, such as the recently announced Starting XI. This is an exciting endeavor that commissions 11 local artists to create soccer-related artistry from recycled soccer items. The first of these works is an upcycled pair of soccer cleats, now on display at the Soundwaves Gallery. Throughout the season, these items will be displayed one at a time, and aim to highlight the interaction of sustainability and art. Be sure to keep up with Booker and IMGRNT, as well as ABC and the Nashville SC. All are working to keep local art alive and to better represent us, the diverse population of Nashville.
Radical Acceptance in Chamber Opera:
Intersection Performs Perry’s The Weight of Light.
On May tenth, Intersection, Nashville’s “flexible contemporary music ensemble” presented Gillian Perry’s One-Act Chamber opera The Weight of Light (libretto by Marcus Amaker) in the Analog music room at the Hutton Hotel. Seemingly derived from Maurice Ravel’s L’enfant et les sortilèges, Amaker’s and Ravel’s works both feature not only speaking inanimate objects that the central character can hear, but they are employed towards a psychological end that centers their main character’s relationship with his/her mother.
The difference here is one of contextual psychology. Ravel’s work is centered upon the child finding their way back to their mother (Ravel’s work culminates with the child singing “Maman”). A Catholic, who fell into “horrible despair” at the death of his mother, Ravel probably saw his mother as the closest thing to human perfection.
On the other hand, Perry and Amaker’s story culminates with the child actually forgiving their mother for feeling shame over the powers they share—this is the gesture of radical acceptance. It is a 21st century tale that spins out nicely in a (almost too) short hour.
For Intersection’s performance, the central character Emily was played by the charismatic, Nashville-based coloratura Ivy Calvert. Her Emily is a strong-willed idealist, whose naïvete is matched only by her determination. Of course, this determination is confronted by her mother, played by soprano Sara Crigger. Her mother, who also speaks with…things, feels nothing but shame for her and her daughter’s abilities.
Calvert’s soaring soprano was wonderful in the opening scenes, where register and innocence correlate, and her expressions throughout, so important in an unstaged work, were absolutely priceless. Crigger, who has been appearing in nearly everything in Nashville lately (Lucia and Carmen for starters) was the beautiful but caring mother, and her mezzo gave her character’s troubled emotions a rich and heavy depth.
Emily’s friend Trevor, played by the remarkable tenor Frank Convit, nearly stole the show. His character’s difficulties, heartrendingly drawn in an incredibly patient and well-paced aria, constantly in dialogue with Todd Waldecker’s gentle clarinet, become the soil from which Emily’s empathy is grown. The number’s climax (“is there something wrong with me?!”) was magnificent and chilling. When we entered Analogue, we were given instagramesque hearts to raise when we heard a beautiful moment that we liked, and this was an amazing moment, but it was so profound that I didn’t want to corrupt it with a banal social media gesture!
Perry’s score is well considered. It’s hard to know from just one hearing, but I believe it is drawn organically towards one five note motive that rises and folds in on itself. The motive doesn’t serve as a seed so much as it does the goal, which is achieved when it is finally set to the text “…we are who we are…” (the moment of that radical acceptance). Corcoran’s ensemble played Perry’s extended techniques well, the strings, Emily Crane (violine) Cristina Micci-Barreca (viola) and Meghan Berindean (cello), deserve special mention for the harmonics and Corcoran’s nuanced blending sounded fantastic in Analogue’s strange setting (I think it might be better for jazz than classical chamber opera, but the chandelier sure is cool).
A graduate of Southern Methodist University, with studies at the California Institute of Arts as well as at the EAMA-Nadia Boulanger Institute in Paris, Perry developed The Weight of Light as part of the Chicago Opera Theater’s Vanguard Initiative, a program guided and overseen by Lidiya Yankovskaya. This is the second work from this program that has appeared in Nashville, the other being Shawn Okpebholo’s Cook-Off from last season. It appears (and sounds) like Chicago is leading the country in developing the next generation of opera composers. The Weight of Light is gentle, introspective, caring, important and beautiful; if this is what Gen-Z’s operas are going to sound like, I want to hear more!
Dancing Through Addiction: ‘Erase The Night’ at TPAC
The Nashville Ballet’s “Erase The Night” was truly remarkable. The performance was presented at TPAC’s Polk Theater from May 2-4, 2025 as part of their season-ending “Attitude” series. This world premiere courageously delves into profound themes of addiction, isolation, and the eventual, powerful embrace of community support and hope. Before delving into the intricacies of this premiere, we need to talk about the two opening pieces which set the stage. As part of the “Attitude” series, Jennifer Archibald’s Quem Viver, Verá explored the life of male dancers, embracing strong lines and fluidity. The music was very grand, perfectly fitting for TPAC’s stage. I found the use of breath and chatter within the musical background, as well as the use of shadows, to be very beautiful. It added a sense of authenticity to the piece. Penny Saunders’ Sur le Fil provided me with a nostalgic feeling of childhood. I found the use of the hat in the piece as an interesting touch. While not very easy to feel a story-line with, it did bring up questions within me about what that hat could symbolize. I thought of shared struggles that can only be sorted through with the help of another person. Penny Saunders’ did say in an interview that she wanted to be elusive with the work and leave a lot of room for the audience to interpret the meaning. With that in mind, I feel her intentions manifested.
As an enthusiast of more cultural dances, I was pleasantly surprised by how “Erase The Night” resonated with me. It showed me that ballet can be a lot more than my preconceived notions of the art form. Ballet itself was founded in the royal courts, thus created as a way to signify prestige and maintain power imbalances. With that history I expected ballet to have less spiritual energy, as the art form has valued being precise with motion and technique rather than revealing an authentic expression. This ballet proved me wrong, showing it can hold spiritual depth while being highly technical.
While the dancer’s actions may have not been their truth, what was expressed on stage is a truth for many. Specifically, Nick Mullikin, the artistic director and CEO of the Nashville Ballet, who used his own story and struggle through addiction as a catalyst to create a ballet that will change you from the inside out. A quick congratulations to him for 10 years of sobriety. This piece, authentically inspired and developed in collaboration with health professionals and addiction specialists, acted as a bridge for the viewer between the inner and outer world of someone going through addiction. Every minute of play time was well spent. As someone who has a family history of substance abuse and alcoholism, it was especially moving to me. There were points where I couldn’t help but cry, feeling what was happening on stage combined with my own personal experience.
As this was my first ballet recital outside of seeing the nutcracker at the Chattanooga Tivoli in 5th grade, I am not the best person to speak about changes of set design. I have however more recently taken an interest in how setting shapes experience. From my perspective, the set design by Mark Halpin was well done. While very reliant on technology such as projections – expertly handled by projection and lighting designer Sharon Huizinga – in order to “create the scene”, they made sure to have constructed pieces as well for the dancers to interact with. This balance made it so the changes of mood and setting were easy to follow without anything feeling forced. There were many “cues” done through the set design, as well as the dancer, which we will touch on later. The set design, as for the projection screens, included her perception of reality at the time. The mood of the other dancers was also displayed through changes in music and lighting, as well of course of choreography. The original score, co-composed by Nashville’s Jordan Lehning and singer-songwriter Courtney Marie Andrews, added immense depth to the story. Performed live by Andrews, quite elegantly, might I add, and an ensemble of local musicians, the music and song guided the thinking of the audience so we could dig for a deeper meaning, allowing the message to resonate auditorily as well as visually.
The intentional contrast between and within the scenes was quite impressive. Starting with the first set design, we were in the inner world of the main dancer, who had a beautifully designed dress by costume designer Noelle Wedig-Johnston. The way it flowed and ruffled reminded me of child-like innocence, showing the remarkable beauty obtained through play. The other costumes often held more dull colors to where the eye was naturally drawn to Sam, the woman struggling with alcoholism. Move to later where she had too much to drink and is passed out asleep, the dress adds realness to the stillness we observe. While other aspects of the costume design were vital for the show, the aspects most worth mentioning is the masks. These were the animal and clown like masks which the family and friends of Sam would put on when her hallucinations set in. It was haunting, but I could not take my eyes off the stage. I feel it let us into her sense of anxiety with the exaggerated features and distorted reality.
As I said before, the dancer would cue the audience to when her hallucinations would start. It was the trembling of her hands. I have strong respect for Colette Tilinski who danced on the 4th. She is highly skilled at the act of embodiment. Even from afar, I could see the expressions on her face. To be that good at embodying such a painful reality requires a deep understanding of the struggles that come with addiction. Her embodied understanding is evident that she respected the role and allowed it to guide her movements on stage, precise and flowing with emotion.
Worth mentioning is the emphasis on relationships throughout the piece. We got to experience how addiction can strain familial, romantic, and platonic relationships. You could see that the other people cared for her, but at a certain point, they could no longer be around what was happening. It is hard to help someone that does not want to help themselves. One thing I wish we could have seen was the process of her gaining sobriety. The shift from hallucinations and tremors to walking peacefully into the distance before the curtains closed felt a little abrupt. Nonetheless, the point was still made and the storyline was clear. If it would have been more slowly guided near the end though, I feel it would have made an even stronger impact.
The Hall Pass at Julia Martin’s Gallery.
On May 3rd, the Julia Martin Gallery opened an interactive multi-artist exhibition curated by Jamie Bradley, on the theme of a “Hall Pass,” which they define as that “one impossible dreamboat—the celebrity, fictional character or pop culture icon who, in a ridiculous alternate reality, you’d risk all for.” Now, this definition is a bit of a watering down of what’s in the urban dictionary, but it suits just fine for this fun, eclectic, silly and quite creative show!
The event’s opening also functioned as a birthday party for the curator, so it was quite a lively, cupcake-filled atmosphere, celebrating someone described as the “funniest person in Nashville!” Indeed, Happy Birthday Jamie Bradley, whoever you are!
What you see below are some of my favorites in the exhibition, but there are others, and most of them are for sale if you are interested in stopping by! Be careful though, the gallery’s neighborhood (WeHo) is in “hyper-gentrify” mode with a million hipster dwellings being erected within a quarter mile of its front door, and parking is hilarious. I, for one, am quite excited about the Italian Deli being installed around the corner!
For me, the basis for a Hall Pass is the crush, an intense attraction to someone unattainable, but nevertheless prominent in one’s life (I suppose this is where the celebrity aspect comes into play). Truly an expression of the old adage “beauty is in the eye of the beholder,” a crush is based on irrational assumptions that rarely live up to real encounters. Towards this ideal, Jamie Valentine’s Natasha is an excellent foray.
Valentine’s portrait, an oil on canvas painting, is probably based on a photograph of Natasha Lyonne, published last January in Vanity Fair. The painting shows its subject in an almost Romantic fragment. The edges, body and background are blurred, but the face, with its doe-eyed expression and intensity, are brought to the foreground. For an actress “…known for her distinctive raspy voice and “tough” persona,” the top hat seems to accentuate a masculine and urban sophistication from within a delicate femininity. While the photo, oddly, places Lyonne in a bathroom, in a fetching and vintage lace dress, Valentine leaves them blurry, emphasizing her personality and emotion as the signature of his Hall Pass crush. The irrational fact that the artist is probably crushing on a fictional character that the actress plays (and not Lyonne herself) matters not in the least.
In a similar way, Kelsey Meaney celebrates comic acter Gene Wilder probably more for the roles he has played than his actual character. The artist describes their intention as “<3 genuine, kind, funny, unpredictable – a man in full >3”. Knit within a composition of 100% merino wool, Wilder is shown faceless, on his way somewhere, carrying an enormous bouquet of roses. Visual beauty here is obviously not the point, Meaney is pointing to a performed comic beauty, though no less ideal! The flowers seem to refer to his role as Willy Wonka in Charlie and the Chocolate Factory while the font in the checkerboard beneath is reminiscent of Blazing Saddles. It’s a quirky and fun composition riddled with nostalgia for the heady days of Saturday afternoon comic cinema.
Graham Griffith’s John Waters, acrylic on paper, mounted on wood panel, shows the famous actor and director from early in his career, perhaps the ‘80s? He is pensively looking aside, as if he is bowing out of an uncomfortable conversation. Evidence of Waters reputation as the “King of Camp” is not apparent in his expression, bearing, emotion, or even the iconic pencil-thin mustache. Instead, it is subtly given on his jacket where a dog is patched, or embroidered (suddenly reminiscent of one of Skull Schulman’s jackets). Here, the museum label provides clarity, as Griffith states: “The King of Camp is hardly known as a sex symbol, but at one time, he held the niche appeal of a greasy, waifish hipster.” Griffith’s Hall Pass isn’t for who Waters is, or who he played (or directed), but who he once seemed to be.
Finally, the broadest definition of the Hall Pass, the most fictional, or perhaps the most anonymous, would have to be Rebecca Delius’ Guilty of Loving You. A mixed media assemblage of what would seemingly function as props for the old (but never ending) series Law and Order. Geez, I loved that show back in the day! Unclear at first whether Delius’ attraction is for Lenny Brisco (who signed the release for the evidence bag) or Jack McCoy (who received it), the photographs of McCoy only, coupled with the presence of the briefcase (Lenny would never carry a briefcase) lead one to suspect Delius prefers the order over the law. I wonder if there isn’t a more secretive expression here—did Delius binge the old show with her actual Hall Pass and this work is an ode to that experience? Sometimes the mystery makes the art!
The fact that the idea of a Hall Pass is a creation by the Millennial and Gen Z generations is worth noting. The honesty of these generations, even within frank discussions of their irrational fantasy world, is one of the refreshing aspects of contemporary mainstream dialogue. For Gen X the “Hall Pass” was permission (usually from the wife to the husband) for a night out with friends; this was the “Kitchen Pass” for the Boomers. For previous generations, the idea(l) of an unobtainable crush would be a source of shame and derision, but now it has returned to an expression of “the eye of the beholder.” This, to me, seems to be the healthiest perspective. In this exhibition Jamie Bradley has hit on a concept that is current and interesting. Stop by the exhibition, and maybe bring your significant other—you might find out more about each other, and perhaps you might even see your own Hall Pass!
MJ: another Jukebox Musical at TPAC
The sensational new musical MJ the Musical is running at TPAC’s Andrew Jackson Theater. I was able to see the performance on the evening of April 29th, 2025 from within a sold-out hall, and it was wonderful! The story, which is light even for a jukebox musical, is set in the period just before his Dangerous World Tour in 1992, opening on a rehearsal stage. In an age of Beyoncé and Taylor Swift it might be hard to remember, but Michael Jackson’s tours were worldwide, extravagant, theatrical, unprecedented and, in 1992, he ruled as the King of Pop. The narrative is an image of the star, at the top of his game, performing 40 musical numbers and it provides an often-rosy biography through glimpses into the past.
As the title character, Jordan Markus was remarkable. He had the moves, the presence, the charisma, the body type, and even the weird, breathy, and upper-register spoken voice. Markus’ dancing was astounding, and his soft-spoken management of people around him seemed realistic. As the younger versions of Jackson, Erik Hamilton, Quenton Blanton Jr., and Bane Griffith were also quite believable. Devin Bowles as his supportive manager, who also ingeniously doubled as his demanding father, Joseph Jackson, played both roles perfectly, and the narrative did very well to portray Joseph in a more sophisticated manner than I expected it might—his demanding and abusive nature is described as a (successful) effort to create resilience on the part of his talented son. His mother was played by the remarkable Anastasia Talley who brought the best voice in the house. Hers is the character of a protective, suffering and loving mother but without any real depth or complication.
Christopher Wheeldon’s direction and choreography are charming with a strong sense of period and nostalgia. The dancing troupe was, if anything, too exuberant. Overall, it is a musical that buys into the fictional reality of Michael Jackson’s videos and public persona; this is how one can understand why they chose 1992. While many of the idiosyncrasies were well known by then (the Elephant Man’s bones, Bubbles the Chimp, sleeping in the hyperbaric chamber, etc) they were just part of the “weirdo narrative” often connected to the lives of a child star.
However, the pedophilia accusations, which wouldn’t start until the next year (1993), go largely unaddressed in the musical. (At one point they might be mentioned in the musical when his business manager asks Jackson “you’re bringing a family on tour?” with no further clarification—is this the Cascio Family?) The musical’s pro-Jackson bias is probably a result of, and if not, it at least resulted in, the Jackson estate’s support, and for this, the press has not received this musical well. The accusations in the 2019 documentary Leaving Neverland, had a powerful impact, strong support (and rebuttals) even as the court cases are ongoing, but if it’s one thing that we have learned in the 21st century, we can’t always trust what we see on the silver screen– “fact” or “fiction.” They say that a man should be considered innocent until proven guilty, and this musical takes that idea seriously.
My primary criticism for the musical is as an arts historian; there are so many things about MJ’s art that we don’t know but we should. The position that Michael Jackson held in our culture is fantastically easy to underestimate. As a dancer, the moves he created, or at least brought mainstream, including the “robot” (first on Soul Train, 1973), the “moonwalk,” (first on Motown 25, 1983), the lean (Smooth Criminal, 1987), and many others are iconic watersheds. The musical attempts to place him in a historical context by literally bringing out his influences—Fred Astaire, Bob Fosse, James Brown, and even the Nicholas Brothers, is well-intentioned, but they appear onstage for only an instant. There is no effort to portray the connections in style, form and innovation that are so apparent when viewed side by side.
Similarly, having Quincy Jones onstage beside Michael Jackson, without revealing musical details of that collaborative relationship and its influence is a huge missed opportunity. Jackson’s singing, the change in his voice across his life, the roles he played in his videos, his vocalizations (squeals, yelps, wooo!) and how they created his complex of sound are unaddressed. Finally, they have his look and fashion down, but what did it all mean to him? Why only one glove? Why white socks? Why such a genderfluid expression—exaggerated masculine gestures from within an outwardly androgynous or feminine form—a dandy as it were (a timely subject for sure!) There is a fictional MTV interviewer onstage, annoyingly, throughout the musical. Yet, they ask the same old wrong questions, and Jackson’s answers are almost always ambiguous. I want more from biography, even if it is jukebox musical biography.
What I do know is that when the house lights came up and all the big hits were reprised, the dancing audience wasn’t concerned with the possible behaviors or expressive intentions of a tortured child-star. They weren’t considering how the King of Pop’s aesthetics are echoed in nearly everything about modern pop culture. They were reliving their own youth and an innocence that has long since waned. This was the purpose of the evening, and in that, Wheeldon and company were, again, quite successful. Go see it, dance your heart out and wring your hands about it later if you must!
Enchanted Castles at Cheekwood Estate & Gardens
Five fun and fantastical castle play structures will be at Cheekwood May 1- August 17. This installation is a collaboration with Castle Homes, a custom home builder based in Middle Tennessee. I was able to check them out April 30 as they were finishing getting set up. Each of the castles has a theme: Dragon’s Den, Flower Fairy Palace, Crow’s Nest, Wizard’s Watchtower, and Formidable Fortress. They each have unique features that go along with their theme: The Dragon’s Den (Sponsored by Mary & Larry Wieck) has a climbing wall that leads to the dragon’s nest, with a treasure chest (the dragon’s hoard!) inside; The Flower Fairy Palace (Sponsored by the Mathman Family) has big whimsical spinning flowers and wind chimes that unite the beauty of nature with mystical fairy magic; The Crow’s Nest (Sponsored by the McCluggage Family) has two functional spyglasses with which to survey the landscape and prepare for adventure; the Wizard’s Watchtower (Sponsored by the Bracken Foundation) has a maze, fun mirrors and a crystal ball; while the Formidable Fortress (Sponsored by the Monroe Family) holds a Sword Throne protected by an alligator laden “moat.”
Parents will be glad to know that the castles are close enough to each other and to the parking lot that you won’t have to do too much walking if you don’t want to. They are all along the main road, which is great if you need to bring a stroller. The first one can be seen across from the building near visitor services & admissions that has a gift shop and restrooms. You can’t miss them, but if you have any questions, every staff member I’ve ever spoken to at Cheekwood has been very kind and helpful.
Now for the biggest question a parent will have: are they fun and can my kid spend a long time here? If you’re wondering what a 34-year-old would know about playgrounds, have no fear, I brought an expert: my three-year-old daughter. Even though she was too young to really understand the themes, she had an absolute blast exploring each castle pointing things out to me: “look there’s a nest,” “look at the big flower,” “that’s a big slide,” and so on. Then, she asked if we could go back the very next afternoon. There were some things that were too difficult for her to do, like the rope climbing walls, which is perfect because the structures have great things for all ages. I know that when I was in elementary school and obsessed with fairies, the Flower Fairy Palace would have been my favorite. But maybe your kid would rather be a wizard or a knight or a dragon; the possibilities are endless! So pack up your kids and bring them for a whole afternoon of fun. If you’ve never been, there are multiple gardens to explore, the mansion with an art collection, and the TRAINS! Exhibit, with its own Enchanted Express, which features multiple miniature train sets that go above and below you, so there’s plenty to do along with the castles.
Find more detailed descriptions of the castles here: https://cheekwood.org/calendar-events/enchanted-castles-at-cheekwood/
The Jazz Beat — May 2025
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
If you wish to subscribe to this guide, click here! Links to specific venues below:
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
Here are the performances this month that I have picked out as really special, ones you won’t be able to catch any day of the week. They span across Nashville’s many great jazz venues and offer something of interest for everyone.
Cinco de Mayo w/ Giovanni Rodriguez & 12 Manos – Monday, May 5 – 9:00 PM ($16) (Rudy’s)
Occupying his normal Monday-night slot at Rudy’s, Rodriguez’s set just so happens to fall on Cinco de Mayo this year, making it the perfect opportunity for an electric night of salsa music from the Nashville favorite and his band, with drink specials all night at the bar.
BadBadNotGood – Wednesday, May 7 – 8:00 PM (Brooklyn Bowl)
As frivolous as their name might seem, Toronto-based contemporary jazz group BadBadNotGood certainly deserves a place in this newsletter. The band’s music blends the lines between ‘70s soul-jazz, alternative hip-hop, and experimental electronica, embracing both old and new styles to create a very unique sound.
Sofia Goodman Trio Pre`sents: A Tribute to Women Composers in Jazz – Friday, May 9 – 5:30 PM ($15) (Rudy’s)
Award-winning drummer, composer, and bandleader Sofia Goodman and her trio will perform a special concert celebrating the women composers in jazz music. Joined by Matt Twaddle on piano and Leland Nelson on bass, the trio will present music by composers like Melba Liston, Geri Allen, Esperanza Spalding, and many more. The Goodman Trio has toured the US and Canada, and have been widely recognized as a powerfully talented group.
Songs for Mom: Mother’s Day Matinee w/ Thea Danos & Her Mom – Sunday, May 11 – 3:00 PM ($35) (NJW)
The NJW offers the perfect way to celebrate Mother’s Day, with acclaimed Nashville vocalist Thea Danos alongside her own mother Donna Danos, a stellar vocalist in her own right. The duo will offer beautiful and soulful duets celebrating motherhood. The Cave will also be offering a free professional photographer on site to capture special moments with your loved ones, as well as free flowers for all moms in attendance.
Charles Wigg Walker – Friday, May 16 – 5:30 PM ($15) (Rudy’s)
Nashville’s original soul singer returns to Rudy’s for their soul and jazz series. It doesn’t get more rooted in the music than this. Walker has been a towering figure in the industry for more than fifty years, recording on legendary labels like Chess Records in Chicago. Any fan of old-school soul music will not want to miss this show.
An Evening of Hot Jazz ft Sutton, Pell, Walters & Hoffman – Friday, May 30 – 7:30 PM ($35) (NJW)
Transport yourself to the streets of Paris or New Orleans with a night of Hot Jazz, inspired by the legendary Django Reinhardt and Stéphane Grappelli, featuring New Orleans native Brook Sutton on bass leads a lineup of incredible musicians, including Derek Pell on violin, Rory Hoffman on guitar/accordion, and Chris Walters on piano.
Dave Potter Sextet: The Music of Art Blakey & the Jazz Messengers (2 shows) – Friday, May 30 ($16) & Saturday, May 31 ($21) – 5:30 PM (Rudy’s)
Drummer Dave Potter will lead a sextet of some of Nashville’s top jazz players to celebrate the music of one of jazz music’s most legendary and iconic drummers, Art Blakey, and the band he led for many years, the Jazz Messengers. Blakey was a hugely important figure in the hard bop movement of the late 50s and on. This sextet will feature Miguel Alvarado on tenor sax, Desmond Ng on trombone, Andrew Sidberg on trumpet, Daniel Kuk on piano, and Rob Linton on bass.
Analog at Hutton Hotel
The MF Band w/ Aaron Smith & RDAA – Saturday, May 31 – 8:00 PM ($15-25)
Nashville superstar drummer Marcus Finnie brings his band to the Analog along with Aaron Smith & RDAA for what should be a stellar night of jazz by two drummer-led bands. Finnie has been playing since literal infancy, making his Beale Street debut at just four years old. He has dedicated his life to music ever since. Aaron Smith leads his band RDAA, a project of original jazz, fusion, and soul music.
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
Friday, May 2 – 4:30-8:30 PM – The Lilliston Effect
Saturday, May 3 – 3:00-7:00 PM – Andrew Carney Quartet
Sunday, May 4 – 1:00-5:00 PM – Miles Damaso Group
Friday, May 9 – 4:30-8:30 PM – San Rafael Band
Saturday, May 10 – 3:00-7:00 PM – 9 Volt Romeo Band
Sunday, May 11 – 1:00-5:00 PM – Andrew Carney Quartet
Friday, May 16 – 4:30-8:30 PM – Triple Dare Jazz Band
Saturday, May 17 – 3:00-7:00 PM – The Lilliston Effect
Sunday, May 18 – 1:00-5:00 PM – Miles Damaso Group
Friday, May 23 – 4:30-5:30 PM – 9 Volt Romeo Band
Saturday, May 24 – 3:00-7:00 PM – Andrew Carney Quartet
Sunday, May 25 – 1:00-5:00 PM – 9 Volt Romeo Band
Monday, May 26 (Memorial Day) – 12:00 -4:00 PM – 9 Volt Romeo Band
Friday, May 30 – 4:30-8:30 PM – The Josh Karas Trio
Saturday, May 31 – 3:00-7:00 PM – Andrew Carney Quartet
Jazz on the Lawn
Saturday, May 3 – 3:00 -7:00 PM – The Lilliston Effect
Sunday, May 4 – 1:00-5:00 PM – 9 Volt Romeo Band
Saturday, May 10 – 3:00-7:00 PM – Andrew Carney Quartet
Sunday, May 11 – 1:00-5:00 PM – 9 Volt Romeo Band
Saturday, May 17 – 3:00-7:00 PM – The Josh Karas Trio
Sunday, May 18 – 1:00-5:00 PM – The Reed Pittman Band
Saturday, May 24 – 3:00-7:00 PM – 9 Volt Romeo Band
Sunday, May 25 – 1:00-5:00 PM – The Reed Pittman Band
Saturday, May 31 – 3:00-7:00 PM – Miles Damaso Group
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
Rebirth Brass Band – Saturday, May 31 – 7:30 PM ($32-45)
Any band that gets Red Hot Chili Peppers bassist Flea to describe them as “unbelievable” and “stunning” deserves a place in this newsletter. The Rebirth Brass Band was founded over 35 years ago by brothers Phil and Keith Frazier, and began its career playing on the sidewalks of the French Quarter. This is definitely the show to see if you want to experience authentic New Orleans brass music!
The Lounge
Kaki King – Monday, May 19 – 7:00 PM ($28 advance / $35 day-of-show)
While certainly not strictly jazz music, I thought I would mention this show as King’s instrumental-focused music is certainly genre-bending, and aspects of jazz certainly shine through. King has performed all over the world, including at the Kennedy Center and the London Jazz Festival.
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
Joe Gross Quartet – Friday, May 2 – 7:30 PM ($35)
With over forty years of experience, renowned trumpet and flugelhorn virtuoso Joe Gross returns to the Jazz Cave for his album release show, backed by some of Nashville’s greatest jazz talents, Pat Coil on piano, Roy Vogt on bass, and Danny Gottlieb on drums.
Lori Mechem Presents “They Say It’s Spring” – Saturday, May 10 – 7:30 PM ($35)
Longtime Nashville mainstay Lori Mechem returns to the Cave for the second installment of her quartet’s residency celebrating thirty years of playing together. This particular show will highlight music evoking the springtime. Her quartet features Roger Spencer on bass, Andy Reiss on guitar, and Chris Brown on drums.
Songs for Mom: Mother’s Day Matinee w/ Thea Danos & Her Mom – detailed above
Rahsaan Barber Quintet ft. Ted Ludwig – Friday, May 16 – 7:30 PM ($35)
Saxophonist Rahsaan Barber comes back to the Cave with his band Everyday Magic. Barber is known for his compositions that blend jazz, blues, funk, classical, and world music. His band features Matt Endahl on piano, Joshua Hunt on drums, and Kevin Beardsley on bass, and for this performance they will also be joined by special guest guitarist Ted Ludwig.
Monica Ramey Celebrates the Music of Jimmy Van Heusen – Friday, May 23 – 7:30 PM ($35)
Celebrated jazz vocalist Monica Ramey takes the stage at the Cave for a very special concert, celebrating the music of Jimmy Van Heusen. Ramey has shared stages with some of the greatest jazz talents of our time, including Rod McGaha, Lori Mechem, Jeff Coffin, and many more.
An Evening of Hot Jazz ft Sutton, Pell, Walters & Hoffman – detailed above
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.
Rougarou 6-Piece New Orleans Brass Band – Thursday, May 1 – 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.
Isaac Eicher Quartet – Friday, May 2 – 5:30 PM ($18)
Jazz mandolinist (yes, you read that right) Isaac Eicher finally returns to the Rudy’s stage. Eicher is a rising artist in the acoustic jazz scene, and has been recognized for taking the instrument to new heights, blending jazz, bebop, Latin music and more. His quartet features Giovanni Rodriguez on electric bass, Jesus Agreda on drums, and Will Barrow on piano.
Marc Payne Quartet (2 shows) – Friday, May 2 & Saturday, May 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.
Bob Harsen Quartet – Saturday, May 3 – 8:00 PM ($20)
In-demand Nashville-based drummer Bob Harsen performs with his quartet. Harsen boasts a long and successful career. During his time in Los Angeles, he recorded, performed, and toured with many artists including Steve Perry, Better Midler, Melissa Machester, Max Bennett, and many more.
Daniel Kuk Trio – Monday, May 5 – 6:00 PM ($12)
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 Ryan Brasley on drums.
Cinco de Mayo w/ Giovanni Rodriguez & 12 Manos – detailed above
Katie Blomarz-Kimball – Wednesday, May 7 – 6:00 PM ($15)
2024 NIMA Award Winner for Best Jazz Instrumentalist, bassist Katie Blomarz-Kimball brings her group to Rudy’s for the first time. Her influences include Paul Chambers to Ray Brown to Christian McBride, her repertoire ranging from straight ahead to contemporary jazz. Her band features Dan Hitchcock on tenor sax, Josh Karas on piano, and Jordan Perlson on drums, and her longtime collaborator, beloved vocalist Abigail Flowers, will also lead on vocals for several tunes.
Colleen Orender – Wednesday, May 7 – 9:00 PM ($14)
The sultry jazz vocals of Colleen Orender return to Rudy’s, transforming the club into a smoldering Mississippi juke joint for the evening.
Jerome Degey & Friends – Thursday, May 8 – 9:00 PM ($14)
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.
Sofia Goodman Trio Presents: A Tribute to Women Composers in Jazz – detailed above
Sax Nite! – Friday, May 9 – 8:00 PM ($30)
Legendary saxophonist Jeff Coffin leads an ensemble together with fellow celebrated sax player Dave Pietro for a night specifically focusing on music that highlights the instrument. They will be joined by Jordan Perlson on drums, Ty Bailie on keys, and Brian Allen on bass.
The Post Bop Chronicles: A Jazz Exploration – Friday, May 9 – 11:00 PM ($10)
Backed by a powerhouse trio, trumpeter, arranger, and educator Nigel Cathéy presents a performance exploring the music of Post Bop, an incredibly important musical movement in the history of jazz. Works by Joe Henderson, Herbie Hancock, Roy Ayers, and more will be featured. Showcasing his passion for pushing musical boundaries, Cathéy will also present his own unique arrangements and premier one of his original compositions.
Ladies of Jazz – Sunday, May 11 – 6:00 PM ($18)
Nashville jazz vocalist and flutist Wendy Burns’s Ladies of Jazz series returns to Rudy’s, this time featuring drummer Jen Hoeft, who has been working in Nashville since 1992, including with the Wooten Brothers and on her own original projects, and pianist and vocalist Teri Reid, one of Nashville’s most critically acclaimed performers and bandleaders.
Baily Johnstone Trio – Monday, May 12 – 6:00 PM ($12)
Up-and-coming bassist and band leader Baily Johnstone leads his trio featuring Marlon Patton on drums and Alex Murphy on piano. The trio focuses on some of jazz’s most classic music, from composers such as Thelonious Monk, Bud Powell, Charlie Parker, and others, as well as tunes from the Great American Songbook.
MILEStones: Tribute to Miles Davis – Wednesday, May 14 – 9:00 PM ($15)
The Miles Davis tribute ensemble returns to the Rudy’s stage. This quintet focuses on music from the “great quintets” that Miles led in the 50’s and 60’s.
Don Aliquo Presents: Bebop Lives! – Thursday, May 15 – 9:00 PM ($14)
Prominent Nashville saxophonist and Rudy’s regular Don Aliquo presents a special concert focused on the music of bebop, exploring the depths and history of this foundational early movement in jazz music.
Charles Wigg Walker – detailed above
Pascal’s Triangle w/ Special Guests – Friday, May 16 – 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 May Han Oh on bass and Justin Brown on drums. This performance will also feature several special guests.
Jacob Jezioro Quartet ft. Matt Endahl – Friday, May 16 – 11:00 PM ($10)
In-demand Nashville bassist Jacob Jezioro returns as bandleader, this time in a quartet format with special guest Matt Endahl on piano. Since his relocation to Music City in 2013, Endahl has been one of the most in-demand pianists in town, and has performed in groups led by Jeff Coffin, Duffy Jackson, Rahsaan Barber, and many more.
Walters, Sutton & Hunt: Music of Ellington, Mingus, Gershwin & More – Saturday, May 17 – 5:30 PM ($15)
Chris Walters (piano), Brook Sutton (bass), and Joshua Hunt (drums) present a special performance honoring the music of jazz legends Duke Ellington, Charles Mingus, Oscar Peterson, George Gershwin, and more. All three of these musicians have highly successful careers in their own right, so their combination should make for a stunning show!
Alex Murphy: Exploring the Piano Trio – Thursday, May 22 – 9:00 PM ($13)
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.
David Cook Quartet – Saturday, May 24 – 8:00 PM ($21)
Pianist David Cook has worked across many genres in his career, from jazz to pop to blues, and currently serves as the music director for Taylor Swift, Thomas Rhett, and a number of other artists. As bandleader he has released three critically acclaimed records. His quartet will feature Miguel Alvarado on saxophone, Jacob Jezioro on bass, and Jordan Perlson on drums.
Joshua Constantine Quartet – Saturday, May 24 – 11:00 PM ($10)
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).
Bruce Dudley Quintet – Friday, May 25 – 5:30 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. This special quintet format will feature Sandra Dudley on vocals, Don Aliquo on sax, Rob Linton on bass, and Ryan Brasley on drums.
Andy Reiss Quintet – Wednesday, May 28 – 6:00 PM ($14)
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 Robbins, 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.
Chris Mondak Quartet – Thursday, May 29 – 9:00 PM ($14)
Nashville-based composer and bassist Chris Mondak brings his quartet back to Rudy’s. Mondak is a graduate of the New England Conservatory and has studied with jazz legends like Cecil McBee, Dave Holland, and Bob Moses. He is known for his energetic hard-bop style compositions and performances.
Dave Potter Sextet: The Music of Art Blakey & the Jazz Messengers – detailed above
Ryan Devlin Quartet (2 shows) – Friday, May 30 & Saturday, May 31 – 8:00 PM ($22)
Boston-based saxophonist Ryan Devlin returns to Rudy’s, this time leading a traditional quartet band, featuring Tal Cohen on piano, Ian Ashby on bass, and John Lumpkin on drums.
Rudy’s Regulars
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 – Friday, May 2 – 8:00 PM ($20)
This quartet format will feature Marc Payne (piano), Jack Aylor (bass), and Ryan Brasley (drums).
Don Aliquo Trio (multiple shows)
Saturday, May 3 – 11:00 PM ($10) Saturday, May 24 – 5:30 PM ($14) Friday, May 30 – 11:00 PM ($10) Saturday, May 31 – 11:00 PM ($10)
Jonathan Wires Quartet – Saturday, May 3 – 5:30 PM ($15)
Nashville bassist Jonathan Wires returns as bandleader in a quartet setting.
Sully’s Swingin’ Sunday Supper – Sundays, May 4 & 18 – 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.
Jody Nardone Trio (2 shows) – Saturday, May 10 – 5:30 PM ($17) & Sunday, May 25 – 6:00 PM ($16)
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 shows) – Saturday, May 10 & Friday, May 23 – 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.
PT Gazell & the Side Effects – Wednesday, May 14 – 6:00 PM ($12)
Harmonica player PT Gazell returns to Rudy’s with his band the Side Effects, always redefining the way we see the instrument.
Pat Coil Quartet – Saturday, May 17 – 8:00 PM ($21)
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 quartet performance will feature Steve Kovalchek (guitar), Rob Linton (bass), and Jordan Perlson (drums).
Re-Evolution – Mondays, May 19 & 26 – 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, May 21 – 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.
Regi Wooten & Friends – Wednesdays, May 21 & 28 – 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.
Dana Robbins Quintet – Friday, May 23 – 5:30 PM ($15)
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).
Stephanie Adlington – Friday, May 23 – 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.
Giovanni Rodriguez & 12 Manos – Every Monday (except May 5) – 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 – Mondays, May 5, 12 & 26 – 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, May 30 – 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!
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
Headed out on Vacation?
Dragon Approved: The Spine’s Picks for Fierce Local Reads
At The Spine Bookshop, I proudly spotlight local and independently published authors as the heart of my collection. With summer just around the corner, I’ve handpicked four standout titles that are perfect for your warm-weather reading list. These titles can be purchased at our website, thespinebookshop.com, or by coming into the shop at 304 S. Lowry St, Suite A3, Smyrna, TN.
Cimarron Falls – Julie Adkison
Dean Davidson isn’t the type to get involved in other people’s affairs—especially not by writing to a beautiful young stranger. But that’s exactly what he did. Just days later, the girl is found dead at the base of Cimarron Falls.
Erica Davidson, a sharp and successful attorney from Nashville, returns to her hometown of Ridgway, Colorado, to support her parents through the fallout. What starts as a visit quickly turns into something far more complicated. Erica is pulled into a web of buried secrets, potential murder, and even echoes of a classic John Wayne film shot nearby.
Partnering with the town marshal, she digs into the mystery surrounding the girl’s death—all while confronting a chilling memory from her own childhood in the same area. Could the past and present be connected?
With her father now battling dementia, Erica and her sisters must set aside their own strained relationships with him to uncover the truth. What they find could alter their lives forever—and change the course of Erica’s career.
A Song That Never Ends – Mark A. Gibson
Home.
For over three hundred years, that’s what the Hamilton family has called a shrinking swath of farmland in the Appalachian foothills of South Carolina.
Home.
That’s the failing tobacco farm where Walter and Maggie Hamilton choose to raise their three children. Walter has big plans to make the farm more profitable, but his plans are interrupted by World War II and family heartbreak. Walter returns from the war a changed man and finds Maggie, too, has changed, neither of them for the better. But at least their family is together again at…
Home.
More than anything, that’s where their eight-year-old son, Jimmy Hamilton, wants to be. However, after an unspeakable tragedy, he’s sent away from the only life he’s ever known to live with a kindly uncle in North Carolina.
Home.
That’s where Jimmy is finally going to be, unless fate has plans of its own…
A Song that Never Ends is the first installment of the Hamilton Place series, an epic family saga extending from the Great Depression to present day. Through war and peace, love and loss, triumph and tragedy, follow the Hamilton family on their journey from a run-down farm in South Carolina, through the jungles of Vietnam, to the top of the world in New York City, and beyond the gardens of stone at Arlington.
Signs and Signals – L.H. Bulmer
“You gave me a sign. I gave you a signal. That makes us family.”
Indya Sterling
After losing both of my parents and landing in foster care, heartache and mistrust became constants in my life. The road I ended up on wasn’t one they would’ve chosen for me, and it certainly wasn’t what I wanted for my daughter, born deaf, when I became a mother as a teenager. But now, we’re walking a different path. One filled with everything my Mama would’ve hoped for me—friendship, love, and family.
Atlas Kensington
Living in Riverside, Oregon, has always been a mixed bag. Sure, being the star centerfielder for the Riverside Legends has its perks. But in a town where gossip spreads faster than wildfire—and with my mother and ex-girlfriend fueling the flames—privacy is a luxury I’ve never known. My life has revolved around baseball and the dream of a World Series win… until one night turned everything upside down.
When Indya and Atlas cross paths, their worlds collide in a story of second chances, unexpected love, and the powerful challenges of single parenthood. As they face their pasts and navigate their present, they begin to imagine a future together.
Can their love withstand the storms that threaten to pull them apart?
Join Indya and Atlas in a moving tale of resilience, romance, and the unspoken ties that make a family.
Nicca’s Light – Meredith Howlin
★Evil is coming★
The world has no magic left to stop it… until Sophia.
Centuries ago, a dark sorceress escaped through a portal, vanishing into the future with one goal: total destruction. Now, that future is here—and so is the one thing she’s after. If she finds it, nothing can stop her.
But Nicholas, an ancient guardian, has been waiting. Waiting for the rebirth of the druid who holds the power to stand against her.
He finds her when she’s just six years old—abandoned, starving, afraid. Her name is Sophia. He places her in a safe home, swearing to protect her from the shadows, hoping she’ll have a few happy years before her destiny catches up.
Sophia has always longed to belong, but it’s hard to be normal when you’re the first druid in history to awaken all four magical powers—and risk madness if you can’t control them. While her friends worry about school dances and crushes, she’s battling ancient magic and overwhelming expectations.
Then there’s Nicholas—her mysterious, protective guardian. Beautiful. Distant. Untouchable. Sophia wants more than anything for him to see her as more than just a responsibility. But she fears he’ll never see past the child she once was.
The world depends on Sophia… but she’s never felt more alone.
As she travels to Ireland to embrace her legacy, Nicholas must decide: will he guide her from a distance, or risk everything by stepping into the fire beside her? Especially since none of this would have happened… if not for him.
Between Two Worlds: The Musical Revolution of the Lafayette Tour
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The Schermerhorn Symphony Center seems to have anticipated the Bicentennial Celebration of the Lafayette Tour by erecting its architecture in the neoclassical style and positioning itself only a few meters from the Cumberland River. On this occasion, the murmur of the hallways exchanged dialogues in French as guests made their way to the honorary reception. The Marquis de Lafayette once again arrived in Nashville, this time as an abstraction of memory and technology.
The Orchestre National Auvergne-Rhône-Alpes retraced the route of the Lafayette Tour to commemorate the Marquis’s second visit to a country that awaited him with open arms, in profound honor and gratitude. In the panorama of the American Revolution, Lafayette joined the fight for colonial independence, embraced the ideals of human rights, and advocated for the abolition of slavery, although his progressive vision met limitations within the practices of his time. What better choice to open this historical framework than the musical work of the Chevalier de Saint-Georges (1745–1799), a composer of black descent from Guadeloupe who enjoyed the rare privilege of freedom and developed his artistic mastery in Paris. The program began with the overture to L’Amant Anonyme, the only one of his six operas that survives complete, possibly due to the unfortunate and intransigent Law of May 20, 1802, enacted by Napoleon Bonaparte to reinstate slavery and erase any record of Black participation in France.
The piece was introduced after a formidable animation projected at the back of the stage, which served as the guiding thread of the Revolutionary story and the musical repertoire throughout the evening. Recreating the political and aristocratic style of neoclassical painting, the French studio Holymage—renowned for its extraordinary visual experiences for major artistic events, including the mapping of Notre Dame Cathedral of Laon, the Château de Chantilly, and the Arc de Triomphe—transformed the concert hall’s screen into a vast canvas framed by the traditional golden borders of the period. Oil-painted characters were brought to life, interacting within the Marquis’s memorable adventures. The lifelike movement of garments, the undulating ocean, and the haughty galloping horses, coupled with seamless transitions between scenes, utterly captivated the audience’s senses. Each audiovisual segment concluded with program notes introducing the next work, allowing the musical narrative to emerge as an inherent element of the historical context.
The contrast between the gallant character of the overture and the subsequent piece, Andante for Strings by Ruth Crawford Seeger, invited an altruistic reflection that reaffirmed the commemorative aim. The narration mentioned the ‘Lafayette Escadrille’, a squadron of American volunteer pilots who fought for France during World War I, prior to their country’s official entry into the conflict. Evidently, it was fitting to include a composer from the “New World,” and it is reasonable to suppose, based on the program’s motivation to feature the Chevalier de Saint-Georges, that Seeger’s presence represents another “minority” voice within the political and artistic sphere of Western culture. The visionary spirit that characterized her compositional work, as well as her scholarly and pedagogical contributions, paved a valuable legacy within the American musical landscape, through both “ultramodern” innovations and the revitalization of folk traditions. In this transition from classical symmetry to the atonal paradigm, the Orchestre national Auvergne-Rhône-Alpes revealed itself to be a chameleonic ensemble, capable of capturing the genuine essence of each style. Personally, their performance captivated me; in earlier decades, the European approach to transatlantic musics often diminished their authenticity.
Immediately after, Austrian conductor Thomas Zehetmair stepped onto the stage wearing a different suit and holding a violin. With a few bow strokes, he introduced the Concerto No. 5 in A Major by a then-young Wolfgang Amadeus Mozart. Performing a solo concerto often brings an anxious atmosphere among the musicians. Understandably so, given the orchestra’s responsibility to provide solid support in the accompaniment, the conductor’s intuition to yield before the soloist’s discourse, and the latter’s own exposure, requiring absolute technical and emotional command. On this occasion, the challenge was even greater, since it was the conductor himself who would take on the role of protagonist. Nevertheless, every movement unfolded in a reciprocal dialogue, allowing each phrase, each cadenza, to breathe with just the right freedom. The precise management of dynamics and articulations restored the natural charm of salon music.
Zehetmair’s performance was nothing less than a confirmation of his Mozartian heritage. Born in Salzburg, he laid the foundations of his musical career in the classical tradition, winning first prize at the International Mozart Competition at just seventeen years old. Since then, his extensive journey through the violin repertoire has established him as an international reference. The next piece, Passacaglia, Burlesque and Chorale for String Orchestra—a further surprise in this extraordinary event, being a world premiere—revealed yet another facet of the conductor. Drawn to the versatility of contemporary music, Zehetmair has also carved a path in the field of composition. From the mere eclecticism of the work’s title, one can sense the interrelation of traditional forms within a modern sound language. The harmonic and rhythmic progressions unfolded in broad textures and articulations characteristic of a period intent on exhausting every possible timbral resource.
At this point, the concert’s intergenerational conversation became evident, and it is no surprise that the evening closed with another great promoter of Revolutionary ideals. Though fitting within the contrasting program, Ludwig van Beethoven’s Great Fugue in B-flat Major also resonated eloquently within this pluralistic stylistic setting. Originally composed as the final movement of the String Quartet No. 13, it was fiercely criticized in its time as “eccentric” and “incomprehensible.” However, for later composers and analysts, it represents an avant-garde mastery of the Baroque form, capable of transforming musical material into a parable of multiple conclusions. The experience was complete, and the receptive audience was thoroughly immersed in each of the proposed allegories. Accustomed to every fine concert ending with an encore, Zehetmair returned to the stage to offer us an additional dose of Austrian spirito, performing the Fourth Movement of Mozart’s Symphony No. 29. With these melodies, the Marquis took his leave, resuming his journey aboard the steamboat toward the capital lands.
