From Our Far-flung Correspondents Series:
Milwaukee Symphony Orchestra: Fresh, Flavor, and Forward
Visit Milwaukee unveiled new branding in April 2024 that included new messaging – Milwaukee: Fresh, Flavor, and Forward. Milwaukee Fresh is the spirit of innovation and exploration that surges through a city where different cultures, ideas, and perspectives continually converge. Milwaukee Flavor is the songs, meals, gatherings, and traditions arising from all the corners of a city where people from around the world came to seek community and opportunity. Milwaukee Forward is what surrounds the community: the people, the positivity, the collaborative energy, and the welcoming and generous spirit. This past weekend, the Milwaukee Symphony Orchestra embodied this messaging harmoniously.
Founded in 1959, the Milwaukee Symphony Orchestra is the largest cultural institution in Wisconsin. Initiatives such as nationally syndicated radio broadcasts, the nationally recognized Arts in Community Education program, and the years-long project to restore a former movie palace in downtown Milwaukee into what is now known as the Bradley Symphony Center, all prove the Milwaukee Symphony Orchestra’s robust commitment to enriching the greater community through the study and performance of music.
Leading many of these objectives from the podium is Music Director Ken-David Masur. In his fifth season with the Milwaukee Symphony Orchestra, Masur’s innovative programming has already made an impact throughout the city. Previously serving as the Associate Conductor of the Boston Symphony Orchestra, Maestro Masur has an extensive list of guest Conductor engagements – both professional and pedagogical (at educational institutions). Masur and his family are proud residents of Milwaukee.
Perhaps by chance or perhaps by fate, last weekend’s program presented Visit Milwaukee’s new messaging of fresh, flavor, and forward, with Milwaukee resident and music director Masur at the helm.
Milwaukee: Fresh
Carlos Simon’s work, Fate Now Conquers, opened the performance. Composed in 2020 and premiered later that year by the Philadelphia Orchestra, this past weekend proved to host the first performances by the Milwaukee Symphony Orchestra. Of the work, Simon offers the following:
This piece was inspired by a journal entry from Ludwig van Beethoven’s notebook written in 1815: “Iliad. The Twenty-Second Book But Fate now conquers; I am hers; and yet not she shall share In my renown; that life is left to every noble spirit And that some great deed shall beget that all lives shall inherit.”
Using the beautifully fluid harmonic structure of the second movement of Beethoven’s Seventh Symphony, I have composed musical gestures that are representative of the unpredictable ways of fate. Jolting stabs, coupled with an agitated groove with every persona. Frenzied arpeggios in the strings that morph into an ambiguous cloud of free-flowing running passages depicts the uncertainty of life that hovers over us.
We know that Beethoven strived to overcome many obstacles in his life and documented his aspirations to prevail, despite his ailments. Whatever the specific reason for including this particularly profound passage from the Iliad, in the end, it seems that Beethoven relinquished to fate. Fate now conquers.
Starting the evening with Carlos Simon’s piece was a successful choice. Drawing inspiration from the past, but very much remaining in a modern vernacular, the work somewhat imitates life by drawing a similarity for the way in which the Milwaukee Symphony Orchestra commits to artistic innovation in an older renovated facility. With a performance time of around five minutes, the economy of Fate Now Conquers became more appreciated after the breadth of Carl Orff’s Carmina Burana and the commitment necessary to experience that work in its entirety.
Milwaukee: Flavor
One was afforded the opportunity to meet the program’s trombone soloist, Megumi Kanda, during a free pre-concert discussion as part of an initiative titled Meet the Music. Scheduled sixty minutes prior to opening downbeats, such an opportunity is available before all performances occurring within the Classics series. Intending to create a better understanding about the repertoire and establish a dialogue with the soloist, host Ryan Tani, who primarily serves as the Milwaukee Symphony Orchestra’s assistant conductor, focused only on Tan Dun’s 2021 composition, Three Muses in Video Game for Trombone and Orchestra.
Perhaps most widely known for creating the award-winning score to Ang Lee’s film Crouching Tiger, Hidden Dragon, Tan Dun writes in a manner that combines elements of Chinese and Western cultures. The trombone concerto takes inspiration from Dunhuang, an ancient outpost along the Silk Road, where generations of monks and pilgrims carved shrines out of the rock and painted the cliffs – known today as the Morgan Cliffs. Each of the three movements enlists the trombone soloist to play in a manner that depicts traditional musical instruments appearing within the aforementioned paintings, respectively the bili, xiqin, and the sheng.
Like Carlos Simon’s work, these performances were also the first time that the Milwaukee Symphony Orchestra performed Tan Dun’s piece. Soloist Megumi Kanda’s playing was inspiring and so varied. Assertive multiple-tonguing passages and bold declarations gave way to a lyricism that engulfed the imagination and suspended time with its beauty and expansive range. On a few occasions, Tan Dun’s orchestration paired the violins with the soloist in unison passages displaced by octaves. Balance became compromised in these moments, often losing the majesty of the trombone to the eagerness of the high string brigade. Cinematic in nature, the first and second movement both ended in a manner befitting of a film scene fading to black. The first occurrence was powerful; however, happening a second time for the same utilitarian objective already began to feel a bit trite. Three well-deserved soloist bows for Megumi Kanda were offered by an energized audience.
Milwaukee: Forward
After intermission, Carmina Burana of Carl Orff concluded the program. This cantata is based on twenty-four poems from a medieval collection of the same name. Joining the orchestral forces are three vocal soloists, a chorus, and children’s choir, singing in Latin, Old French, and Middle High German. Topics within the poems are varied, covering the delights and dangers of gambling, gluttony, drinking, and the sorrows of love – all possible foreshadowing for the Republican National Convention being hosted by Milwaukee in July 2024.
Dashon Burton, bass-baritone, is the first vocal soloist to perform in Carmina Burana. He along with Sonya Headlam, soprano, flanked the conductor’s podium for the entire piece. Burton’s list of accolades and acclaimed performances continue to grow in collaboration with leading ensembles and conductors. Tonight’s performance was no exception. Using his voice to capture nuances of each poem, he heightened the emotion seemingly with ease.
Whereas Burton sang with an attentive command, tenor vocal soloist Brian Giebler masterfully delivered comedic reprise. Entering stage left just before the movement featuring him began, Giebler took residence directly in front of where Burton was sitting, immediately winning over the audience and preparing all for the hilarity that would soon ensue through song. Brian Giebler’s career continues to be on a trajectory as promising as his tone is clear and expressive. One should seek out Brian Giebler in performance. Burton reclaimed his real estate on stage at the end of the poem and Giebler found his way off stage, only momentarily, and appropriately, pulling focus while exiting.
Only participating towards the end of the hour-long work, Sonya Headlam’s instrument was worth the wait to hear. Equally comfortable concertizing and in productions, Headlam performs throughout the country and regularly with the Choir of Trinity Wall Street. Headlam’s ability to draw the audience in with an intimacy of tone and dynamic was welcomed in the Orff, and, in a way, nurtured one’s soul before the reprise of “Fortuna imperatrix mundi.”
Keeping pace with the vocal soloists was the Milwaukee Symphony Chorus. Chorus director Dr. Cheryl Frazes Hill and assistant director Timothy J. Benson prepared the ensemble with an energized diction and pacing, the result of which was an exciting contribution that maintained integrity through the final fermata. Although with a less-active role, the Milwaukee Children’s Choir realized their parts well under the leadership of artistic director Rachel Maki.
Maestro Masur and the Milwaukee Symphony Orchestra were prepared for a multitude of tricky rhythmic passages contained within Carmina Burana. Momentary discrepancies relating to vertical alignment and intonation were expected, and, at times, very present. Ensemble balance, however, proved to be a great strength.
The most moving portion of the evening was when Masur took time to acknowledge the retirement of one member from the Milwaukee Symphony Chorus and two musicians from the Milwaukee Symphony Orchestra. The vocalist has sung with the organization for thirty-two years, violist Helen Reich has performed with the organization for thirty-six years, and after forty-four years of service, violinist Tim Klabunde has decided to end their tenure. Congratulations to all and thank you for helping to build on to the legacy of these great ensembles!
Milwaukee: Fresh, Flavor, and Forward. Milwaukee Symphony Orchestra: Yes, please.
Hairspray: Final Broadway Event of The Season
Hairspray is a musical comedy set in 1960s Baltimore. 16-year-old Tracy Turnblad sets out to get onto TV’s most popular teen dance show, along the way she finds love and helps campaign for integration.
Hairspray started as a 1988 movie (starring Divine, the inspiration for Disney’s villain Ursula), which had a moderately successful run before turning into a cult classic. It was adapted into a 2002 Broadway musical which won 8 Tony Awards. This adaptation was readapted five years later into a highly-rated and star-studded film.
The final Broadway musical of TPAC’s 2023-2024 season, Hairspray will be at TPAC’s Jackson Theater June 11-19. For more information see: Hairspray | Broadway Shows in Nashville at TPAC and Hairspray on Tour.
Oona Doherty’s Navy Blue
Oz Arts’ season closer, Oona Doherty’s Navy Blue for 12 dancers, is a remarkable composition. In two parts, it juxtaposes Sergeï Rachmaninoff’s Second Piano Concerto with electronic music of Jamie XX. Someone the Guardian calls “dance’s next big thing,” Doherty’s choreographies are noted for their raw originality and their ability to connect strength with vulnerability—this was on striking display in Nashville during the June 1st performance.
For the first half of the piece, accompanied by the Rachmaninoff, Doherty stated that she wanted it to start out looking like a conventional dance company: “So the first part is that: you came to see a dance show? I’m gonna fucking give you a dance show. […] When you get 12 people to move in complete unison that is just relentless compromise and sacrifice. All different intentions, length of leg, how far you’re going to jump, all compromises going on for the greater good of the group.”
On the floor, this seemed to be manifested in unison movements that would coalesce during the clear presentation of themes in Rachmaninoff’s music. When there was a transition between themes in the music, the dancer’s movements would separate, only to reunite again at the next theme. It is a beautiful dance, if a bit conventional–but that is when all hell broke loose. At this point we begin to understand that the piece is actually an expression of, or exercise in, “dread” (this is what she asked Jamie XX to evoke in his music).
Once accomplished, the transition to the second part realizes a broadening of focus from the earthly to the universal, not trivializing so much as emphasizing the meaningless, or perhaps minuteness of the fears and dread in the first half. And the second half is quite different; rather multidisciplinary. There is spoken word addressing the audience directly just as the dancers do. At one point, all stand in a row, depicting in an almost deconstructed abstract visual, a moving painting portraying the many faces and bodies of humanity at once—faces suffering, faces in joy, in greed, in hate, in elation—each a schema and moving sculpture of its expression. It seems that one of Doherty’s genius is in the efficient depiction of emotion through the simplest gesture—agony in a forced smile, dread in a shaken head.
Overall, Navy Blue is a bizarrely relentless negative expression that culminates with a blurred, isolating, and heartrending solo. From all this negativity Doherty relieves us in one remarkable gesture at the end, it made me gasp in spite of myself. Navy Blue is done with Nashville, moving to the Joyce Theater in New York next. Can you imagine? they came to Nashville first. Bravo Oz!! I can’t wait for next season!!
Nashville Symphony Ends its Season
Romanticism, Expressionism and Primitivism at the Schermerhorn
From May 30 to June 2 the Nashville Symphony ended its season with a presentation of Carl Orff’s Carmina Burana in a rather strange pairing with two rarely heard song sets: Alban Berg’s collection: Sieben frühe Lieder (Seven Early Songs) and Gustav Mahler’s cycle: Lieder eines fahrenden Gesellen (Songs of a Wayfarer).
Alban Berg’s Lieder were written in 1928 and dedicated to his wife Helene. The songs reflect a composer at the intersection of several trends of influence as he embarks into the dark German Expressionist period. The first, “Nacht,” with its whole tone organization seems to reach to the work of the Impressionists (Debussy in particular) even as the alternating chords on eighth notes reach further back to Mussorgsky’s cycle Sunless. And yet, its sound is the most modernist of the set. Nashville’s strings proved decidedly eloquent in the divided parts of “Die Nachtigall” while the reed section wonderfully articulated the ironic indoor pastorale of “Im Zimmer.” Soprano Meechot Marrero approached the set warmly, with a gentle embrace that enhanced the chilling effect of Berg’s dark expressionism. One of my favorite moments was in the “Shilflied,” with its description of a return to the site of a drowning (a topic that Berg also treated in his masterpiece Wozzeck ). Marrero’s performance was particularly–and wonderfully—frightening: “And I think that I hear wafting the gentle sound of your voice, and down into the pond sinks your lovely song.”
Since May of 2010, Maestro Guerrero has managed to produce eight of Mahler’s ten symphonies including Das Lied von Erde. Next spring he will be closing his tenure here with the 8th “Symphony of a Thousand,” leaving only the 6th unperformed. One wonders why, or if he might be coerced to return to complete the cycle? (Correction! The Sixth was performed in 2009!) In anycase, he obviously adores the Austrian composer, this relish was tangible in the performance of Leider eines feharenden Gesellen, a song cycle that is symphonic in its orchestration and shares a number of important themes with the composer’s First Symphony. These songs are authentically Romantic, celebrating nature, grieving lost love and generally experiencing the world with extreme pathos.
Baritone Sidney Outlaw, appropriately, took a much more direct approach with these Romantic works. His instrument was rich and slightly burnished with precise intonation and an excellent diction. Particularly in the last song, Guerrero’s pacing permitted Mahler’s sad nostalgia to saturate the hall, as the music, poetry and song drifted into a dream. I did lament the absence of the contrasting klezmer music that accompanies this song’s theme in the First Symphony.
After intermission, the program moved from music denounced by the government of Nazi Germany to music that it celebrated. Carl Orff’s Carmina Burana is a cantata, part of a triptych of pieces that draws on a 12th century medieval collection of Goliard songs. These works were written by students and clergy to satirize the Catholic church and the greed created in the newly monetized economy of the era. Orff’s setting places these originally rather light pieces (the songs are a collection of drinking songs, gaming songs, love songs and moral mockery) in the context of a full orchestral accompaniment with full choir provides the pieces a gravitas that, in my opinion, outweighs the expressive purpose of the original lyrics. For example, “O Fortuna,” the most famous piece in the set simply laments the singer’s losses at the gambling. It has been used in hundreds of advertisements, setting the mood for dramatic, catastrophic events (or parodies thereof).
The cantata’s performance has long been controversial, not so much for its direct expression of Nazi ideals, although it does express a neo-pagan ideology and the perception of a timeless, ethnic character, but instead for a primitivism Orff likely drew from the aesthetic of Stravinsky’s early ballets (especially the Sacre du Printemps). These works feature repeated rhythmic cells that serve to excite “the collective” and lead to, as T. Adorno famously put it, “liquidation of the individual.” The difference is that Stravinsky’s music is meant to be terrifying. On the other hand, Orff’s music as Alex Ross once put it, seeks to create a “…rousing primitive, unreflective enthusiasm.” It raises not horror, but excitement. Ross, and later Richard Taruskin, recognized that in this way, Orff’s music is rather uniquely powerful for propaganda. As Taruskin famously stated about Carmina Burana in the New York Times: “Repeat anything often enough, Dr. Goebbels said, and it becomes the truth.” Obviously, this is a lesson that is well taken in our modern politics.
In Nashville, the performance was exemplary. Tucker Biddlecombe’s chorus was perfectly prepared, responding well to Maestro Guerrero’s directions and still seeming to lose themselves in the performance. Mary Biddlecombe’s youth choir was just as fantastic and the two combined to create a compelling rendition. The soloists delivered as well, with counter tenor Randall Scotting, the evening’s roasted swan, providing everyone an excellent and humorous victim to laugh at. The closing “O Fortuna” was rousing enough that the audience leapt to their feet, and a young fellow near me literally jumped with his hands extended above his head as if someone had scored a touchdown. I’m a curmudgeon, but I am always intimidated by unreflective enthusiasm, especially with an election approaching. My wife, on the other hand, saw it differently: “That was fun!” Whether you like Orff’s work or not, the evening was simply an all-around a great performance.
Jack Antonoff and the Bleachers at the Ryman
Electric atmosphere? Anthemic choruses? Dueling drum sets?? Jack Antonoff and Bleachers deliver all three, and more, with exceptional, high-energy music. Originally from New Jersey, Bleachers has become the premier performing group for ten-time Grammy winner and back-to-back-to-back producer of the year winner Jack Antonoff. Antonoff has produced and written songs for several A-List performers including: Taylor Swift, Kendrick Lamar, Lorde, Lana Del Rey and many more. Don’t let this impressive list fool you, in the aptly named tour “From the Studio to the Stage” Antonoff continues to show why he is one of the most called musicians of the modern day.
I was personally surprised by the immense stage presence the band carried. After listening to their music to prepare myself I expected a lower energy and more chill concert. I could not have been more wrong. The band took stage and immediately began to electrify the Ryman with songs from their newest self-titled album. It didn’t take long for a sold out show to have all empty seats, the crowd was immediately jumping, dancing, and screaming with Bleachers. The song “Modern Girl” especially surprised me as I struggled to hear the singers over the sea of shouting fans. It felt like I was in a movie with the way the crowd was moving and singing, it was surreal. This was only the beginning of the concert, they hadn’t even begun to dig into their most popular hits yet.
The energy almost never faded. The band did not take many breaks between songs and when they did it was typically accompanied by Antonoff speaking to the crowd (or his new friend Erin from the balcony). He paid homage to the history of the Ryman during one of these breaks and said that the band did not want to do any covers that would’ve been performed in years past. Instead, they opted to do a few songs specifically about where they came from in order to leave their own mark on the Ryman, further developing its long history. This development included “turning the Ryman from a church to a loud, dirty club” said Antonoff during a song. The band also interacted with the crowd, specifically Erin, who is evidently his new best friend just based on her vocal frequencies. He also shared that it is the band’s opinion that it is “embarrassing” to walk off stage and have the crowd cheer you back on, an idea that I rather enjoy. Though these breaks did cause stoppages in the high energy music, Antonoff continued the lighthearted and good feeling vibes with his shenanigans between songs.
The music itself carried some heavy influences that I could hear. Most noticeably the lyricism and delivery of the lyrics during the verses seemed to resemble that of Bryan Adams, Bruce Springsteen or Billy Joel depending on the song. Long winded phrases that maneuvered through a story, rushing as if part of a flashback of a memory long forgotten (or a memory too often remembered). It seemed that Bleachers adapted some of these stylistic ideas and combined them with modern production and shoutable choruses to create a portfolio of movie-esque, feel good songs. “I Love It,” it reminds me of the music my dad would play while working outside while also reminding me of the coming-of-age high school movies I loved as a child. They also have several songs that fall into more of a pop music category such as “I Wanna Get Better” which was also met with the exciting shouting of the crowd. The most surprising part of the music was the presence of two (yes two) drum sets on stage that almost always played together. The musical precision in the percussion of Sean Hutchinson and Mike Riddleberger was on blast during the entire concert. For the first time in a setting outside of random jam sessions I got to hear dueling drum sets which was a very welcome feature of this incredible concert. I am also thankful for Zem Audu and Evan Smith for bringing the saxophone into this music! Saxophone is always welcome in any music I listen to and the precision, tone quality and musicality is incredibly beneficial to this band’s electric aura.
No music from Jack Antonoff is music to be missed, and the addition of more top-class musicians to the band’s lineup has created one of the most enjoyable rock bands on the scene. Bleachers brought so much energy to Nashville and I am already waiting for them to come back and rock the city again.
Esta mes:
Nashville Sonido Latino, Junio
(English Version Here)
Este mes de junio promete inaugurar la época de verano con una variedad extraordinaria de géneros y artistas que desde sus raíces latinas han mantenido la identidad musical, pero también se han adaptado a géneros como el country y el rock’n roll. Artistas de reconocimiento internacional, eventos de entrada libre y festivales, inundarán los recintos de la ciudad de la música.
GIOVANNI RODRÍGUEZ & 12 MANOS 
Rudy’s Jazz Room
Todos los lunes
9:00 PM
Entradas $19.44+
Redes sociales: Instagram
Cada lunes del mes en Rudy’s Jazz Room al caer la noche se despierta el sol caribeño con el repique de las congas. Giovanni Rodríguez, un artista integral de sangre dominicana y radicado en Nashville, es el director de este proyecto que cuenta también con destacados músicos en la escena musical de la ciudad. Para este evento, el recinto dispone de una pista de baile para vibrar con los ritmos coloridos de la salsa, la bachata y el jazz latino.
KODIGOZ 
Plaza Mariachi
Sábado 1 de junio
5:30 PM – 7:00 PM
Entrada libre
Redes sociales: Youtube Facebook Instagram
La huella indeleble que el Rock en español ha forjado a través de las generaciones, es sinónimo de identidad y revolución. Aunque haya encontrado sus influencias en el formato anglosajón, este género se ha construido desde la autenticidad de cada nación hispanohablante. Kodigoz tiene el poder de imprimir el estilo y la esencia de reconocidos artistas en una fresca amalgama que mantiene al público extasiado.
RITMO SABROSO 
Plaza Mariachi
Sábado 1 de junio
8:30 PM – 10:00 PM
Entrada libre
Redes Sociales: Facebook Youtube
Como su nombre lo dice, Ritmo Sabroso es una orquesta que inevitablemente pone al público de pie para unirse con sus pasos al ritmo de la salsa, el merengue y la cumbia. Estos géneros sin lugar a duda han impregnado por generaciones las fiestas en el continente latinoamericano y la escena musical al otro lado del Atlántico. En esta agrupación se congregan músicos con una amplia experiencia originarios de Venezuela, Colombia, Puerto Rico y Estados Unidos, países representativos en la riqueza sonora y cultural de estos géneros. Para quienes estén buscando disfrutar de una noche tropical este fin de semana, ¡este es un evento que no se pueden perder!
LOS KUMBIA BROTHERZ 
Plaza Mariachi
Domingo 2 de junio
7:00 PM – 8:30 PM
Entrada $10 Facebook
Originarios de México y radicados en Memphis, Los Kumbia Brotherz representan el tradicional sonido del güiro y el teclado eléctrico. La cumbia mexicana con su ritmo contagioso y sus letras que al narrar la vida cotidiana se aferran con fuerza a la historia de cada oyente, es un género que ha permanecido vigente en las celebraciones de la región.
PORANGUÍ (Brasil) 
The Mil – Cannery Hall
Domingo 2 de junio
7:00 PM
Entradas $34+ Facebook
La propuesta de Poranguí va más allá de la interpretación musical; su sello ecléctico de sonoridades ancestrales y electrónica invita al oyente a explorar diversas sensaciones además del goce musical. La estructura en loop de melodías y efectos crean el ambiente propicio para conectar con el interior y convertir esta experiencia en un ejercicio de meditación.
LAS CHICAS ROLAND (Honduras) 
Diamante Night Club
Domingo 2 de junio
8:00 PM
Entradas $50
El sonido tropical de la música catracha ha atravesado fronteras gracias al éxito de Las Chicas Roland que con su sello femenino agregan versatilidad y sensualidad al género. En una mezcla de ritmos e instrumentación africana e indígena, esta música originaria de Honduras ha llevado al siguiente nivel el baile y la energía del inconfundible sabor caribeño.
SAMMY ARRIAGA (EEUU/Cuba) 
CMA Fest – Hard Rock
Jueves 6 de junio
10:00 AM
Entrada libre
Sitio web: https://sammyarriaga.xyz/
Cuando creías que la música country nashvilliana lo tenía todo como género, Sammy Arriaga le imprime su herencia latina a través de ritmos frescos y canciones en español. Este artista revelación fusiona con elegancia cada estilo musical, manteniendo la tradicional cadencia en la voz del country romántico y moderno.
LATINO NIGHT 
New Heights Brewing Company
Jueves 6 de junio
5:00 – 10:00 PM
Entrada libre
Music Neighbours y Musicana se unen para brindar una noche de música y baile. El soul, el blues y el funk harán vibrar el escenario con en el dueto Cane + Cancino (EEUU/España-Chile); Elia Esparza (EEUU/México) brindará frescura con su inigualable estilo pop y Karina Daza (EEUU/Colombia) complementa esta celebración musical con sus influencias de jazz y pop latino. Dynamic Ballroom & Performing Arts estará también presente para acompañar la fiesta con lecciones de baile.
VIVA COLOMBIA EN TENNESSEE 
Plaza Mariachi
Sábado 8 de junio
11:00 AM – 10:00 PM
Entrada libre
La sabrosura de Colombia llega a la Plaza Mariachi con lo mejor de sus tradiciones y su gastronomía. En este festival la comunidad disfrutará de una gran variedad de sabores y música para sentirse por un día de regreso en su país. Naturalmente el fútbol no puede faltar, así que qué mejor que departir junto con los nativos la transmisión en vivo del partido entre las selecciones de ¡Colombia y Estados Unidos!
TUMBAYÉ 
Plaza Mariachi
Sábado 8 de junio
5:30 PM – 7:00 PM
Entrada libre
Redes Sociales: Instagram
Salsa, merengue, bachata, son algunos de los ritmos que podrán disfrutarse con esta estupenda agrupación llena de sabor. La voz de Tatiana Liary (Puerto Rico) conocida por su estilo de salsa urbana y el inconfundible retumbar de la percusión de Manuel Manotas (Venezuela), son la combinación explosiva para disfrutar la música bailable en todo el sentido de la palabra.
THE KRAZY HOUR 
Plaza Mariachi
Sábado 8 de junio
7:30 PM – 8:00 PM
Entrada libre
En una boda o en unos “quince” no puede faltar “la hora loca”, ese momento donde el protocolo pasa a segundo plano, y todos los asistentes se congregan en un carnaval de música y jolgorio. The Krazy Hour es un proyecto que eleva el significado de esta tradición a otro nivel, brindando una experiencia de diversión sin precedentes.
BRAYAN CÁCERES (Colombia) 
Plaza Mariachi
Sábado 8 de junio
8:30 PM – 10:00 PM
Entrada libre
La voz auténtica de Brayan Cáceres hace resonar en los recuerdos la salsa tradicional que se escucha en Colombia. Con un repertorio de canciones originales y versiones clásicas del género, este concierto promete una agradable velada de baile para cerrar con broche de oro el festival “Viva Colombia en Tennessee.”
MAELO RUIZ (Puerto Rico) 
Bucanas Night Club
Viernes 14 de junio
9:00 PM
Entradas $50+
El reconocido cantante de salsa por canciones como “Te Va a Doler” y “He Vuelto Por Ti” y por una carrera exitosa que le ha merecido ser uno de los más importantes artistas en el estilo romántico del género, llegará a Bucanas Night Club para brindar una noche cálida y de regocijo a toda una comunidad de fanáticos que han crecido con su música.
BANDA EL RECODO y LA ADICTIVA (México) 
Plaza Mariachi
Viernes 14 de junio
9:00 PM – 2:00 AM
Entradas $80
La música norteña enciende la noche en la Plaza Mariachi con estas dos agrupaciones tradicionales agrupaciones. Banda El Recodo se ha mantenido por generaciones desde los 40’s posicionándose como la pionera en la divulgación de este género. Por su parte, La Adictiva además de poseer una carrera de más de 20 años, su puesta en escena con trajes vibrantes y coreografías son el toque hechizante para la experiencia musical que ofrecen a su público.
OS MUTANTES (Brasil) 
The Mil – Cannery Hall
Miércoles 19 de junio
7:00 PM
Entradas: $30
El rock experimental y psicodélico han hecho de Os Mutantes una de las bandas mayormente reconocidas no solo en Brasil, sino en la escena internacional. Desde 1966, esta agrupación ha desafiado las convenciones musicales, inspirando a las nuevas generaciones a crear un estilo auténtico e innovador de los ritmos brasileros y del rock’n’ roll.
2024 SPIRITS OF SUMMER, “SYMPHONIC NIGHTS”
Nashville Symphony Schermerhorn Symphony Center
Jueves 27 de junio
6:30 PM – El Salón Havana, VIP Experience, Main Lobby
7:30 PM – Spirits of Summer, Laura Turner Hall
Entradas $100+
Un viaje sensorial a través de las calles de la hermosa ciudad de La Habana. La música en combinación con una carta de cocteles electrizantes es una experiencia que no te puedes perder. Un grupo de expertos en coctelería seducirá el paladar de los asistentes para obtener el premio Symphony’s Spirits of Summer, mientras los sonidos tropicales cubanos acompañan esta magnífica velada.
The Jazz Beat: June, 2024
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 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.
Concurrence Album Release Show – Saturday, June 1 – 8:00 PM (Rudy’s) ($25)
Experimental duo Concurrence returns to the Rudy’s stage to celebrate the release of their new album, Indivisible. Praised by Nashville Scene as city’s “best jazz band that isn’t a jazz band,” experimentation and improvisation is at the heart of their music. They will be performing with drummer and Aaron Smith and special guests for this one-time album-release event.
Jacob Collier w/ Emily King – Sunday, June 2 – 7:30 PM (Grand Ole Opry) ($40+)
Prodigious young musical talent Jacob Collier makes a stop at the Grand Ole Opry on his tour supporting the release of Djesse Vol. 4, the final volume of his ambitious project Djesse. At only 25 years of age, Collier has already established an almost legendary status for himself in the music industry, due to his unique, boundary-pushing harmonies and deep knowledge of many musical genres. I think any fan of jazz fusion should have this show on their radar.
First “Jazz Night” at the Musician’s Union – Wednesday, June 5 – 7:00 PM (Free)
The local chapter of the Musician’s Union, Local 257, is starting a Jazz Night on the first Wednesday of every month, and this month’s is the very first. An all-star band has been assembled to perform a two-hour set. The band features Jim Ferguson on bass and leading the band, Pat Coil on piano, Joel Frahm on saxophone, and Danny Gottlieb on drums. This is a free event and there is parking behind the Musician’s Union building.
June Lee Presents the Harmony of Jacob Collier – Sunday, June 9 – 3:00 PM (Jazz Cave – NJW) ($35)
Building on Jacob Collier’s appearance in Nashville earlier in the month, longtime collaborator and leading expert in advanced music theory June Lee presents a masterclass exploring Collier’s innovative harmonies. The class will feature a Q&A section, and participants will even have the chance to schedule a one-on-one class with Lee himself. For anyone interested in building on their knowledge of music theory, this event is a must.
Ravi Coltrane ft. Gadi Lehavi & Ele Howell – Wednesday, June 12 – 7:30 PM (City Winery Main Stage) ($30+)
Jazz fans have an incredible opportunity this month to see Ravi Coltrane, son of the legend John Coltrane and saxophone virtuoso in his own right. A Grammy-nominated artist, Ravi Coltrane has released six albums as a bandleader, and recorded on countless other albums as a sideman, including with Elvin Jones, Kenny Baron, McCoy Tyner, and many others. This performance will also feature incredible musicians Gadi Lehavi on piano and Ele Howell on drums. Any jazz listener should put this on their calendar right away.
Entropy – Tribute to Jeff Beck’s “Blow by Blow” ft. John Fumo – Wednesday, June 12 – 9:00 PM (Rudy’s) ($15)
Jazz fusion group Entropy returns to the Rudy’s Stage, this time collaborating with trumpeter John Fumo for a tribute to Jeff Beck’s album Blow by Blow, a legendary fusion album that has inspired countless musicians and fans. Certainly breaking out of the traditional jazz sound heard most nights at Rudy’s, this should make for an exciting night of music.
Jazz on the Cumberland w/ the Sonja Hopkins Jazz Band – Sunday, June 16 – 5:30 PM
Nashville-based jazz vocalist and songwriter Sonja Hopkins provides this month’s Jazz on the Cumberland Performance. Known for her scatting abilities and vocal texture, Hopkins encompasses the tones of both nostalgic and contemporary jazz, as well as displaying her R&B and Gospel roots.
Robert Glasper (2 performances) – Monday, June 24 – 6:00 PM & 9:30 PM ($45+)
Legendary pianist, songwriter, and arranger Robert Glasper will perform two sets on the Winery’s Main Stage. Glasper is an accomplished jazz pianist in his own right, having been signed to Blue Note Records in his twenties, but his music transcends genre, keeping the jazz focus but weaving in many other influences. He has won five Grammy awards, out of eleven total nominations, as well as a number of other notable awards. Outside of his own work, he has produced or written music for artists like Brittany Howard, Mac Miller, and Talib Kweli, among many others.
Nigel Cathéy Quintet: “Timestamp: Legends of Sound Pt. 2” – Thursday, June 27 – 9:00 PM (Rudy’s) ($14)
Trumpeter and arranger Nigel Cathéy presents an evening of hard swinging music that pays homage to the jazz legends of the past who paved the way for the musicians of today. The band will present music from Lee Morgan, Kenny Dorham, Roy Hargrove, and Nicholas Payton. The band features Gus Arnold (sax), Alex Murphy (piano), Alex Mayweather (bass), and Joshua Cook (drums).
Bruce Dudley’s 5 Piece – Saturday, June 29 – 8:00 PM (Rudy’s) ($23)
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 quintet also features more of Nashville’s top talent, including Joel Frahm on saxophone, Chester Thompson on drums, Rod McGaha on trumpet, and Jon Estes on bass.
Arrington Vineyards
Music in the Vines Series – Every Saturday (3:00-7:00 PM) & Sunday (1:00-5:00 PM)
Starting in April, Arrington Vineyards will feature concerts of Jazz and Bluegrass every Saturday and Sunday. Acts range from Andrew Carney & the Essentials to Art Four Sale Band to the Reed Pittman Band. There will also be live jazz on Fridays (4:30-8:30 PM) for Arrington’s Food Truck Fridays!
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.
The Lounge
Mark Harris II – Tuesday, June 11 – 7:00 PM ($22 advance / $27 day-of)
Prodigious keyboardist, multi-instrumentalist, arranger, and composer Mark Harris II graces the Winery’s Lounge to present his blend of smooth jazz, fusion, and R&B. Born in Los Angeles and raised in St. Louis, Harris has been surrounded by and grounded in music his entire life. He has toured the world and opened for Grammy-winning artist Gregory Porter. He has released two notable albums and three singles.
Monica Ramey – Saturday, June 29 – 7:00 PM ($15 advance / $20 day-of)
Midwest native but long-time Nashville resident vocalist Monica Ramey is a highly-praised jazz vocalist, acclaimed for her interpretations of tunes from the Great American Songbook. Her debut album, Make Someone Happy, featured Nashville legend Lori Mechem and her trio, and was highly acclaimed, as were her two following titles, Monica Ramey and the Beegie Adair Trio and Some Enchanted Evening, both also featuring prominent Nashville musicians.
Main Stage
Ravi Coltrane ft. Gadi Lehavi & Ele Howell (detailed above)
Robert Glasper (2 performances) (detailed above)
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
Jay White Presents “Hour of Power” – Saturday, June 1 – 7:30 PM ($35)
NYC-native Jay White is a multi-talented bassist, singer and composer whose music focuses on projecting a message of love and unity. His influences include a wide array of styles from Gospel to R&B and Jazz to Country. He has graced the stage with renowned musicians like Damien Escobar, Amos Lee, and Cory Henry, among others.
The Jon Cowherd Quartet – Friday, June 7 – 7:30 PM
Originally from Kentucky, pianist Jon Cowherd cut his teeth in New Orleans and New York City, bringing a unique blend of influences to his music. Perhaps best known for a long-time collaboration with drummer Brian Blade which resulted in the Grammy-winning group Brian Blade and the Fellowship Band, Cowherd has also collaborated with a number of other musicians across genres. This quartet will feature Aaron Sterling, Joel Frahm, and Mike Elizondo.
Alex Murphy: Tribute to Robert Glasper – Saturday, June 8 – 7:30 PM ($35)
Pianist and composer Alex Murphy will present an evening of music in tribute to one of the defining voices of modern jazz, hip-hop, and R&B, Robert Glasper, who as you will have noticed is also performing this month, at City Winery. Murphy has collaborations across many genres with artists like Nicholas Payton, Joel Frahm, Pharezz Whitted, and Gabrielle Cavassa.
June Lee Presents the Harmony of Jacob Collier – detailed above
Juneteenth – Saturday, June 15 – 1:15 PM (FREE)
To celebrate Juneteenth, the Workshop will present performances by three of the best Black musicians and artists in the industry today. First, trumpeter, composer, and arranger Emmanuel Echem will perform at 1:15. Then, at 2:30, soulful vocalist Piper Jones will deliver her mix of blues, jazz, and R&B. Finally, at 3:45, guitarist Wil Merrell will present a set of his music, known for its infectious energy.
Jontavious Willis – Friday, June 21 – 7:30 PM ($35)
Hailed as a rising start in modern acoustic blues, with high praise from the legend Taj Mahal to boost that reputation, Grammy-nominated guitarist Jontavious Willis blends many blues styles, including Delta, Piedmont, Texas, and Gospel blues. For any blues lover, or those interested in the roots of Jazz music, I think this performance is a must-see.
The Lori Mechem Quartet – Saturday, June 22 – 7:30 PM ($35)
Lori Mechem returns to the Jazz Cave with her quartet featuring Roger Spencer (bass), Andy Reiss (guitar), and Larry Aberman (drums). Mechem has a long and storied career performing alongside jazz legends like Dizzy Gillespie, Jimmy Smith, Anthony Wilson, Red Holloway, Terry Gibbs, among many others.
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. 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.
Concurrence Album Release Show (detailed above)
Jeff Berlin – Saturday, June 1 – 5:30 PM ($15)
Considered one of the three greatest bassists of all time, alongside Clarke and Pastorius, Jeff Berlin presents a group featuring some of Nashville’s top-tier musicians including Jody Nardone on piano, Joel Frahm on saxophone, and Bob Harsen on drums.
Rebecca Carlson (2 performances) – Saturday, June 1 – 11:00 PM ($10) & Thursday, June 6 – 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.
Andy Reiss Quintet – Friday, June 7 – 5:30 PM ($15)
Grammy-winning guitarist Andy Reiss leads a stellar quintet of some of Nashville’s top musicians, including Joel Frahm (sax), Andrew Carney (trumpet), Chris Autry (bass), and Danny Coots (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.
Pascal Le Boeuf’s “Ritual Being” Jazz + Classical Ensemble – Friday, June 7 – 8:00 PM ($22)
Ritual Being returns to Rudy’s. Led by Grammy-nominated pianist and composer Pascal Le Boeuf, Ritual Being hybrid jazz-classical ensemble featuring some of Nashville’s top talent, including Annaliese Kowert (violin), Alex Krew (cello), Ethan Jodziewicz (bass), and Jordan Perlson (drums).
The Aaron Lessard Group – Saturday, June 8 – 11:00 PM ($10)
Nashville jazz/fusion guitarist Aaron Lessard will perform a mix of original compositions and covers in a trio format featuring Brian Allen on bass and Mark Raudabaugh on drums.
The Karas Committee – Wednesday, June 12 – 6:00 PM ($12)
Josh Karas’s jazz fusion group returns to Rudy’s, playing an exciting mix of Karas’s high-energy compositions and arrangements, and their interpretations of classic fusion tunes from the likes of Herbie Hancock, Chick Corea, and Stevie Wonder. Karas has been noted as one of the most promising up and coming pianists on the Nashville scene, and his group has already played for sold-out crowds.
Entropy – Tribute to Jeff Beck’s “Blow by Blow” ft. John Fumo (detailed above)
The MF Art of Listening – Friday, June 14 – 5:30 PM ($16)
This highly improvisational group makes its return to Rudy’s, led by drummer Marcus Finnie, who has assembled a highly talented group of musicians to create this unique experience. Finnie himself has toured the world with a host of artists, including Keb’ Mo’, Taj Mahal, Donna Summer, Billy Preston, and many more. Also in the band are trumpeter extraordinaire Rod McGaha, who practically needs no introduction, having performed with Max Roach himself; John Pahmer, a pianist with a remarkable career that has made him a respected figure in the industry; and Ryan Madora, Nashville-based producer, educator, writer, and bassist. She has toured and recorded with artists like indie rock icon Jennie Lewis, as well as Molly Tuttle, Zayn, and more.
Joe Barna & Sketches of Influence (2 performances) – Friday, June 14 & Saturday, June 15 – 8:00 PM ($21)
Performing both nights this weekend, drummer Joe Barna leads his group Sketches of Influence. Barna has performed with Grammy-winning artists, and has recorded over ten albums as sideman and six as bandleader.
Wendy Burns & Paul Childers Present “Jazz’s Greatest Duets” – Saturday, June 16, 2024 ($18)
Two of Nashville’s great talents present an evening celebrating the greatest tunes in jazz, some dating back all the way to the turn of the 19th Century. Paul Childers is a versatile guitarist who blends the rock and blues styles of Hendrix and Vaughan with the traditional jazz guitar. He has toured internationally for many years and opened for acts like Vince Gill, Robert Cray, and Leann Rimes. Wendy Burns is a multi-talented vocalist and flutist who has won awards such as Best Female Jazz Artist from the Mississippi Music Foundation, and been inducted into the Nashville Academy of Local Musicians Hall of Fame.
The Kelli Cox Trio – Wednesday, June 19 – 6:00 PM ($12)
Long-time Nashville staple pianist Kelli Cox returns to the Rudy’s Stage with her trio featuring Chris Autry on bass and Luke Woodle on drums.
Caravan Tales – Thursday, June 20 – 9:00 PM ($14)
Caravan Tales blends a wide variety of influences from across the world for a unique sound. The French and Afro-Caribbean background of arranger and guitarist Jerome Degey blends with the Latin and Dominican heritage of Giovanni Rodriguez, and the two are further complimented by Willie Barthel, drummer from Colombus, and Charles Treadway, considered one of Nashville’s top organists.
Sarah Jane Nelson – Friday, June 21 – 5:30 PM ($20)
A native of Little Rock, Arkansas, Nelson is now based in Nashville after a long stint in NYC starting when she was 17. She has been highly praised as a first-rate singer in many publications, including The Miami Herald, RAVE LA, Hollywood Reporter, and the LA New Times.
Shaun Munday – Saturday, June 22 – 5:30 PM ($12)
Bassist and composer Shaun Munday returns to Rudy’s presenting his unique original work which centers the bass as the melodic instrument. Highly praised for his technique and melodic composition, Munday has shared the stage with Mary Wilson, Andra Day, The Wailers, and more.
The Andrew Carney Quartet – Wednesday, June 26 – 6:00 PM ($12)
Nashville-based trumpeter flugelhornist Andrew Carney performs with his quartet. Carney has had a prolific recording and performing career, having performed with artists from Pink to Aretha Franklin to Ariana Grande, and recorded on commercials for Google, Nutra Systems, among others.
Andy James & The Jon Cowherd Sextet – Wednesday, June 26 – 9:00 PM ($15)
Vocalist Andy James performs with the all-star band of the Jon Cowherd Sextet, offering originals as well as unique interpretations and arrangements of classics. The band features Jon Cowherd (piano), Alex Acuña (percussion), Jordan Perlson (drums), James Genus (bass), John Ellis (reeds), and Chico Pinheiro (guitar).
Nigel Cathéy Quintet: “Timestamp: Legends of Sound Pt. 2” (detailed above)
Bob Harsen Trio – Friday, June 28 – 5:30 PM ($14)
Accomplished drummer Bob Harsen performs with his trio. Harsen is a Berklee graduate and has toured and recorded with a wide array of artists from Max Bennett to John Patittuci to Bette Midler and more.
The Desmond Ng Group – Friday, June 28 – 11:00 PM ($10)
Hailing from Phoenix, Arizona, Ng is a new trombonist on the scene in Music City, and now performs with his original group.
The Ted Ludwig Quartet – Saturday, June 29 – 5:30 PM ($15)
Ted Ludwig is a highly praised seven-string guitarist, acclaimed in publications like All About Jazz Magazine, JAZZIZ Magazine, Offbeat Magazine, and more, and has been a consistent part of the jazz scene in New Orleans for almost thirty years. He has performed with contemporary legends from Ellis Marsalis to Peter Bernstein to Mundell Lowe and more.
Bruce Dudley’s 5 Piece (detailed above)
The Sofia Goodman Group ft. Joel Frahm – Sunday, June 30 – 6:00 PM ($15)
Award-winning Nashville drummer and composer Sofia Goodman and her group collaborate with Joel Frahm, acclaimed tenor saxophonist originally of New York City, now based in Nashville as well. Goodman’s sophomore album, Secrets of the Shore, won Best Jazz Album of 2023 by the Nashville Scene, and she has performed with greats such as Roland Barber and Pascal Le Boeuf. Her next album will be out later this year.
Rudy’s Regulars
Regi Wooten & Friends – Wednesday, June 5 & Wednesday, June 19 – 9:00 PM ($15 Cover)
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.
Chris Mondak Band – Friday, June 7 – 11:00 PM ($10)
Nashville-based bassist and composer Chris Mondak leads his band performing jazz standards as well as Chris’s energetic hard-bop style compositions.
Jody Nardone Trio – Saturday, June 8 – 5:30 PM ($17) & Saturday, June 22 – 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)
Don Aliquo – Multiple Performances
One of Nashville’s most active and accomplished saxophonists, Aliquo will be performing with his trio on two occasions this month, in both trio and quartet formats.
Don Aliquo Quartet – Saturday, June 8 – 8:00 PM ($23)
Don Aliquo Trio – Saturday, June 15 & Friday, June 21 – 11:00 PM ($10)
Sully’s Swingin’ Sunday Supper – Sunday, June 9 & June 23 – 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.
Dana Robbins Quintet – Monday, June 10 – 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).
Cliff Richmond & the CliffNotes – Thursday, June 13 – 9:00 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.
Geoff Pfeifer Quartet – Friday, June 14 & Saturday, June 29 – 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.
Pat Coil (2 performances)
Accomplished Nashville pianist Pat Coil will be performing twice this month, each with a different group, detailed below:
Pat Coil Trio w/ Don Aliquo – Saturday, June 15 – 5:30 PM ($15)
Pat Coil’s “Music For Humans” – Friday, June 28 – 8:00 PM ($23)
Re-Evolution – Mondays, June 17 & 24 – 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.
Stephanie Adlington – Friday, June 21 – 8:00 PM ($23 Cover)
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.
Jonathan Wires Quartet – Saturday, June 22 – 11:00 PM ($10)
Prominent Nashville bassist and educator Jonathan Wires leads a quartet featuring Adam Davis on guitar, Steve Pardo on sax, and Madison George on drums.
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).
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.
Sambuca Restaurant
Sambuca is a New American restaurant in Nashville’s Gulch district, featuring nightly live music. Below are the appearances that will interest the jazz listener!
Thea Danos (2 performances) – Saturday, June 1 – 7:00 PM & Thursday, June 20 – 6:00 PM
Nashville native Thea Danos specializes in jazz and Brazilian bossa nova, a style she is intimately familiar with as she has spent extensive time in Brazil performing and perfecting her Portuguese singing. Danos likely will be the closest one can get to authentic Brazilian bossa nova in Nashville.
Stephanie Adlington (3 performances) – Saturday, June 8, Sunday, June 23 & Saturday, June 29 – 11:30 AM
Featured above in the Rudy’s section, Adlington is an award-winning jazz vocalist.
Ben Graves – Monday, June 10 – 6:00 PM
An incredibly eclectic and versatile musician, Ben Graves has performed music in genres from classical to jazz to hard rock, weaving all of this experience together into a unique style.
Ryan J Driscoll – Tuesday, June 11 – 6:00 PM
Accomplished vocalist and entertainer Ryan J Driscoll has been acclaimed for his compelling renditions of tunes from the Great American Songbook.
Steve Roper – Monday, June 17 – 6:00 PM
For three years, Steve Roper was the band leader and music director for the Steven Roper and the B.B. King Allstars band at the B.B. King Club here in Music City. His primary genres are jazz and blues, but his skillset extends well beyond these styles to R&B and even country.
Amanda Raye – Wednesday, June 19 – 6:00 PM
Although her style is a blend of soul and country, Raye’s jazz influence certainly shines through. She will present an evening of original music.
Sarah J – Wednesday, June 26 – 6:00 PM
Known for her energetic personality and audience interactions, Sarah J presents a powerful blend of R&B, contemporary jazz, and pop music. She accompanies herself on both piano and guitar.
Leif Shires – Thursday, June 27 – 6:00 PM
Modern jazz trumpeter Leif Shires will perform twice this month. Shires, who has performed with many artists including Tom Jones, the Secret Sisters, Kelly Lang, and many others, now presents a traditional, straight-ahead jazz sound that is sure to be a great accompaniment to a delicious meal.
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.
The Jack Ruch Organ Trio – Every Thursday – 8:00 PM ($10)
Guitarist Jack Ruch, organist Adam Wakefield, and drummer Nioshi Jackson make up this soul and blues trio. The music you’ll hear here makes up the core of jazz’s roots, so any jazz fan should feel right at home listening to this trio.
Regular Nashville Hangs
Bohemia After Dark: Live Jazz Band with Andrew Golden – Every Monday – 8:00 PM (Old Glory)
Dinner & A Show – Live Jazz Band – Every Friday – 7:00 PM (Flamingo Cocktail Club)
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!
The Jazz Beat: July 2024
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 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.Roland Barber Quintet – Celebrating Duke Ellington, and Beyond! – Saturday, July 6 – 7:30 PM (Jazz Cave – NJW) ($35)
Acclaimed Nashville jazz trombonist Roland Barber has assembled an exciting new quintet, and here they perform a set to celebrate the music of Duke Ellington, in recognition of the Duke’s 125th birthday. The quintet features some of Nashville’s top talent, including Alex Murphy on keys, Jack Aylor on bass, Dan Hitchcock on saxophone, and Christian Burgs on drums.Summer Wind – A Tribute to the Sounds of Sinatra – Saturday, July 6 – 8:00 PM (3rd and Lindsley) ($15 advance / $20 day-of / $125 tables)
A group of some of Nashville’s finest crooners joins together for a tribute to Frank Sinatra, the Rat Pack, and the musical era that defined them. Featuring Sinatra Bar & Lounge headliner Richard Jacques, as well as popular Nashville vocalists Keith Sargent, Michelle Murray, and Kyle Henry, the group honors the legend of vocal jazz music, while also stepping out into the wider musical era, blending Sinatra hits with timeless songs from the Great American Songbook.Jazz Under the Stars – Friday, July 19 – 7:00 PM (Cheekwood Estate & Gardens) ($65)
A part of their Under the Stars concert series, which features a diverse array of performances, this date is the Jazz Night. The evening will feature an outdoor jazz concert surrounded by the beautiful Cheekwood Gardens, and guests will have access to food trucks as well as vendors of wine and local beers.Jazz on the Cumberland w/ The Deshan Jones Jazz Quartet – Sunday, July 21 – 5:30 PM (Free)
Jefferson Street Jazz & Blues Festival – Saturday, July 20 ($20+) Details of this event are actually still forthcoming, but I still wanted to include it to get it on everyone’s calendar. Last year’s headliner was iconic blues crooner Sir Charles Jones, with supporting acts like Bizz & Everyday People and Cherelle. This year’s festival will surely offer the same high caliber of performances.Sunny Side – Thursday, July 25 – 9:00 PM (Rudy’s) ($15)
Sunny Side is a 7-piece jazz band from New Orleans. The group brings a full New Orleans-style jazz experience, with three-part harmonies, a solid rhythm section, and an energetic vocalist and dancer. Presenting music inspired by some of the founding jazz legends such as Louis Armstrong, Cab Calloway, and Fats Waller, among others, the group is sure to give a stellar performance.Ryan Devlin Trio (2 performances) – Friday, July 26 & Saturday, July 27 – 8:00 PM (Rudy’s) ($22)
Visiting from Boston, MA, saxophonist Ryan Devlin comes to the Rudy’s stage for two performances with his trio, featuring Ian Ashby on bass and Caleb Montague on drums. At only 26 years of age, Devlin has already made a name for himself with performances with The Orlando Jazz Orchestra, Davis Whitfield Jr, Mike Bond, Ulysses Ownes Jr, and many other world-class jazz musicians and ensembles.MonoNeon – Tuesday, July 30 – 8:00 PM (Exit/In)
Stepping outside of the strict jazz tradition, bass virtuoso and experimental musician MonoNeon comes to Exit/In. The Memphis native is known for his online presence as well as being one of the last musicians to work with Prince. He has collaborated with artists such as Mavis Staples, George Clinton, Mac Miller, and more, and has performed at the Newport Jazz Festival, Montreal Jazz Festival, Melbourne International Jazz Festival, and many more..Arrington Vineyards
Music in the Vines Series – Every Saturday (3:00-7:00 PM) & Sunday (1:00-5:00 PM)
Starting in April, Arrington Vineyards will feature concerts of Jazz and Bluegrass every Saturday and Sunday. Acts range from Andrew Carney & the Essentials to Art Four Sale Band to the Reed Pittman Band. There will also be live jazz on Fridays (4:30-8:30 PM) for Arrington’s Food Truck Fridays!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.
The Lounge
Albert Castiglia – Thursday, July 18 – 7:00 PM ($20 advance / $25 day-of)
Praised as the “heir apparent” to the title of King of the Blues by the Miami New Times, Albert Castiglia has made quite a name for himself in the world of blues guitar. With over a dozen solo albums to his name, Castiglia has already built a storied career for himself, having performed for audiences all across the country. His 2019 album Masterpiece won the Blues Music Award for Blues Rock Album of the Year. Anyone interested in the long tradition of blues guitar music should definitely keep this one on their calendar.An Evening with Matt Von Roderick – Sunday, July 29 – 7:00 PM ($30 advance / $35 day-of)
Matt Von Roderick is a crooner-trumpeter who calls back to legends like Chet Baker, and yet brings a distinctly modern sound to his music. His debut album, CELESTIAL HEART, released last year, blends the sounds of classic jazz with those of rock and electronica. This album featured titans of the industry, including legendary drummer Jim Keltner and orchestrator Gil Goldstein. Von Roderick simultaneously honors the tradition, while paving his own path into the future.Main Stage
Ravi Coltrane ft. Gadi Lehavi & Ele Howell (detailed above)
Robert Glasper (2 performances) (detailed above)
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
Roland Barber Quintet – Celebrating Duke Ellington, and Beyond! – detailed above
NJW Presents Gtar Phil – Friday, July 12 – 7:30 PM ($35)
Phil Hughley is a Nashville-based guitarist who has become a go-to for sessions as well as touring. He has recorded or performed with acts like TajMo (collaborative act between Taj Mahal and Keb’ Mo’), CeCe Winans, The McCrary Sisters, and more. Mostly recently he performed with the Nashville Symphony during its four-night debut of The Jonah People: A Legacy of Struggle & Triumph. Now he comes to the Jazz Cave with his own ensemble for a stellar performance.Green Hill Music Celebration – Saturday, July 13 – 7:30 PM ($35)
The NJW celebrates the long-time partnership it has enjoyed with Nashville-based record label Green Hill Music, together fostering a nurturing environment for musical development and cultural enrichment. The celebration of more than 30 years of partnership includes performances by Roger Spencer, Lori Mechem, Chris Brown, Sam Levine, Jaimee Paul, Matt Belsante, and Phillip Keveren.Chantae Cann at the NJW – Saturday, July 27 – 7:30 PM ($35)
Stellar young vocalist Chantae Cann comes to the Jazz Cave. Cann’s debut album landed at #1 on the iTunes Jazz Charts, and she quickly followed this up with a Top 10 sophomore album. Praised for her ability to connect emotionally with her audience, this performance is sure to be one that moves you.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. 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.Roland Barber Quintet – Celebrating Duke Ellington, and Beyond! – detailed above
NJW Presents Gtar Phil – Friday, July 12 – 7:30 PM ($35)
Phil Hughley is a Nashville-based guitarist who has become a go-to for sessions as well as touring. He has recorded or performed with acts like TajMo (collaborative act between Taj Mahal and Keb’ Mo’), CeCe Winans, The McCrary Sisters, and more. Mostly recently he performed with the Nashville Symphony during its four-night debut of The Jonah People: A Legacy of Struggle & Triumph. Now he comes to the Jazz Cave with his own ensemble for a stellar performance.Green Hill Music Celebration – Saturday, July 13 – 7:30 PM ($35)
The NJW celebrates the long-time partnership it has enjoyed with Nashville-based record label Green Hill Music, together fostering a nurturing environment for musical development and cultural enrichment. The celebration of more than 30 years of partnership includes performances by Roger Spencer, Lori Mechem, Chris Brown, Sam Levine, Jaimee Paul, Matt Belsante, and Phillip Keveren.Chantae Cann at the NJW – Saturday, July 27 – 7:30 PM ($35)
Stellar young vocalist Chantae Cann comes to the Jazz Cave. Cann’s debut album landed at #1 on the iTunes Jazz Charts, and she quickly followed this up with a Top 10 sophomore album. Praised for her ability to connect emotionally with her audience, this performance is sure to be one that moves you.Rudy’s Regulars
Pat Coil Quartet (2 performances) – Saturday, July 6 & Saturday, July 27 – 5:30 PM ($15)
Renowned Nashville pianist Pat Coil will perform twice this month in the quartet format, each time with a different lineup of all-star musicians. The first performance will feature Pat Bergeson (guitar), Luke Woodle (drums), and Baily Johnstone (bass), while the second performance will feature Marc Widenhofer (drums), Rob Linton (bass), and Dan Hitchcock (saxophone).Don Aliquo Trio (2 performances) – Saturday, July 6 & Friday, July 26 – 11:00 PM ($10)
One of Nashville’s most active and accomplished saxophonists, Aliquo will be performing with his trio on two occasions this month, in both trio and quartet formats.Jonathan Wires Quartet (2 performances) – Sunday, July 7 – 6:00 PM ($15) & Saturday, July 20 – 11:00 PM ($10)
Prominent Nashville bassist and educator Jonathan Wires leads a quartet featuring Adam Davis on guitar, Steve Pardo on sax, and Madison George on drums.Re-Evolution – Mondays, July 8, 15, 22, 29 – 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.Regi Wooten & Friends – Wednesdays, July 10, 17 & 31 – 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.Geoff Pfeifer Quartet (2 performances) – Friday, July 12 & Saturday, July 27 – 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.Cliff Richmond & the CliffNotes – Thursday, July 18 – 9:00 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.Dana Robbins Quintet – Friday, July 19 – 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, July 19 – 8:00 PM ($23 Cover)
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.Jody Nardone Trio (2 performances) – Saturday, July 20 – 5:30 PM & Sunday, July 28 – 6:00 PM
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)Sully’s Swingin’ Sunday Supper – Sunday, July 21 – 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.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).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.Sambuca Restaurant
Sambuca is a New American restaurant in Nashville’s Gulch district, featuring nightly live music. Below are the appearances that will interest the jazz listener!
Ben Graves (2 performances) – Monday, July 1 & Monday, July 29 – 6:00 PM
An incredibly eclectic and versatile musician, Ben Graves has performed music in genres from classical to jazz to hard rock, weaving all of this experience together into a unique style.Thea Danos – Saturday, July 6 – 7:00 PM
Nashville native Thea Danos specializes in jazz and Brazilian bossa nova, a style she is intimately familiar with as she has spent extensive time in Brazil performing and perfecting her Portuguese singing. Danos likely will be the closest one can get to authentic Brazilian bossa nova in Nashville.Steve Roper (2 performances) – Sunday, July 7 – 6:00 PM & Friday, July 26 – 7:00 PM
For three years, Steve Roper was the band leader and music director for the Steven Roper and the B.B. King Allstars band at the B.B. King Club here in Music City. His primary genres are jazz and blues, but his skillset extends well beyond these styles to R&B and even country.Leif Shires – Wednesday, July 10 – 6:00 PM
Modern jazz trumpeter Leif Shires will perform twice this month. Shires, who has performed with many artists including Tom Jones, the Secret Sisters, Kelly Lang, and many others, now presents a traditional, straight-ahead jazz sound that is sure to be a great accompaniment to a delicious meal.Jazz Over Dinner Series w/ Michael Fair – Tuesday, July 23 – 7:00 PM.
The Underdog Nashville
The Guthrie Trapp Trio – Mondays, July 1, 22, 29 – 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.The Jack Ruch Organ Trio – Every Thursday – 8:00 PM ($10)
Guitarist Jack Ruch, organist Adam Wakefield, and drummer Nioshi Jackson make up this soul and blues trio. The music you’ll hear here makes up the core of jazz’s roots, so any jazz fan should feel right at home listening to this trio.Regular Nashville Hangs
Bohemia After Dark: Live Jazz Band with Andrew Golden – Every Monday – 8:00 PM (Old Glory)
Dinner & A Show – Live Jazz Band – Every Friday – 7:00 PM (Flamingo Cocktail Club)
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!Come to the Cabaret at Studio Tenn
This is Studio Tenn’s first year in their new digs, the Turner Theater. Though a bit difficult to find within the maze of parking spaces, shops, and eateries, it was worth the trip.
In a pleasant surprise, Paul Vasterling, Artistic Director Emeritus of the Nashville Ballet, served as both director and choreographer. Technical matters of getting sets on and off stage were smooth, seamless, and the use of the space, lined with lit globes was masterful, particularly evocative with the first few rows of audience seating arranged with closely spaced nightclub tables and chairs. Though part of the original staging, the scene where characters are within arms’ reach, but still call one another on black telephones seemed offkey. Otherwise, the minimalist set onstage—a bed, a table, a few chairs, all quickly removed—was quite effective; the overall staging was excellent.
Prior to the overture downbeat, Studio Tenn’s artistic director Patrick Cassidy gave a bit of the history of a show that originally premiered in 1966. With each revival, this tale of the hedonistic days in Berlin overlapping with the rise of Nazism in Germany, retains its strength to entertain and move audiences worldwide, winning multiple awards with each incarnation.
Part of its continuing relevance today mirrors the current international zeitgeist where some citizens glory in, and eagerly embrace, the possibility of authoritarianism, while more fear and flee it, as others fiddle as Rome burns, and yet more bury their heads in the sand, deciding to ignore or accept whatever is to be. All this results in, quite simply, a great show. Like South Pacific, Oklahoma, West Side Story, a bigger societal picture shines through the smaller lens of one island, or one region, or one neighborhood. In this case, one nightclub.
The KitKat Club is both a real and metaphorical locus where the Emcee runs the show and two ill-fated couples, Cliff and Sally (an American writer and English showgirl), Herr Schulz and Fraülein Schneider (both Germans: a widowed Jewish greengrocer and a single middle-aged proprietor of a boarding house) meet and separate. Ancillary characters, Ernst Ludwig (Matt Logan) and Fräulein Kost (a smuggler who joins the Nazis and a prostitute working out of the boarding house) represent the impending political and moral threats facing all of Germany.
All the voices were strong and effective, matching the quality of the tight pit band (Stephen Kummer, conductor), awkwardly divided onto two sides of the stage. The acting also revealed a depth of talent with the best matches of talent-to-role going to the Emcee (Brian Charles Rooney), Cliff (Caleb Shore), Herr Schultz (Matthew Carlton), and Kost (Jordan Tudor). Their clear grasp of their characters allowed the audience to settle into the story.
Interestingly, despite Vasterling’s deep levels of experience, much of the choreography amplified the most visceral weaknesses in the cast—their bodies. With only one exception, most of the women did not seem to know what to do with their bodies. It may just be transferring a pure classical ballet sensibility to a more carnal environment, but the sensuality of decadent nightclub dancers and licentious ladies of the evening was noticeably absent, as if good girls on rumspringa were trying too hard to be bad. Only Tudor as Kost, had the subtle sexuality that made her depiction of a prostitute convincing.
Megan Murphy Chambers, on the other hand, not only didn’t have the English accent the Sally Bowles character required, but was implausible as a “seen everything” showgirl sleeping her way to the top, each undulation approached with practiced determination. When singing major numbers, she and Julie Cardia as Fraülein Schneider both stood rather stiffly as they belted out the show’s potent lyrics in true Broadway style. The quality of their voices was so bold, so skilled, it almost overshadowed the ongoing discomfort I felt at some indefinable absence, some missing element. I was finally able to define it when Rooney sang.
The emcee role was the most challenging both vocally and in acting, going from flirtatious through bored laissez-faire, from sexual hijinks, through growing awareness of the threat against him and his community. At the end, dressed in prisoners’ stripes and a decal representing the Nazi pink triangle, his poignant despair emanated throughout the room. Some nearby audience members joined me in gentle, but audible gasps. Before that, though, when he sang “I Don’t Care Much,” he moved almost as little as Chambers and Cardia, but each move, each head tilt, each hopeless raise of the eyes toward the heavens was so meaningful that the light went on. That is what I’d been missing, the connection of body to emotional moment, acting and singing with your whole self.
In the end, though, this was a well-produced program of solid quality that definitely made for an evening that was both enjoyable and thought-provoking. I hope this company will consider the occasional move past the greatest hits into a play by a local playwright. Perhaps a night of one-acts? Their skill would give talented writers in the Nashville area a serious chance to promote their works, just as the Nashville Ballet allows its dancers to choreograph a talented company. Seeding the growth of a new generation of playwrights would add to the gift Studio Tenn already provides audiences.
This is the final show of the season, but if it is any indication, 2024–2025 Rockin’ Retro season tickets, starting with Little Shop of Horrors and ending with Jersey Boys, would be well worth the cost.
FALL and chatterbird in Collaboration
A Bending of Its Own Kind: Aspiration
On Sunday May 19th, chatterbird, a Nashville-based chamber ensemble, collaborated with aerial and contemporary ballet company FALL for their latest performance: A Bending of Its Own Kind: Aspiration. Founded in 2014, chatterbird “…explores alternative instrumentation, stylistic diversity, and interdisciplinary collaboration in order to create thoughtful, intimate, and inventive musical experiences.” FALL was founded in 2010 by Rebekah Hampton Barger to articulate the experience of those living with chronic pain and illness. A Bending of Its Own Kind is a dance performance piece created by Barger about her experience with severe scoliosis and chronic pain. As the years have gone on, the piece has expanded to include the stories of other individuals with chronic pain and Aspiration is the latest installment, which explores the connections between hope and breath, and what each of those means in the face of living with a chronic condition. In an interview with MCR, Barger cites a quote by Ted Chiang as inspiration for the title of the piece: “It is no coincidence that ‘aspiration’ means both hope and the act of breathing.” The music and movement for this piece were developed separately, with both choreographer and composers drawing inspiration from a discussion between five individuals who each live with a form of hypermobility disorder, along with several other comorbidities. During this performance, the composers performed a structured improvisation alongside the dancers.
A Bending of Its Own Kind: Aspiration was performed in Emerson Hall, a refurbished 1930’s-era church that had a space for a small ensemble: harp, gezheng (a chinese stringed instrument), violin, bass, and synth and percussion, along with two sets of aerial silks in a large metal frame. The performance included four pieces with four individual dancers: Hope // Breath, Knowledge // Empowerment, Looking Forward // Looking Back, and Grace // Acceptance, and a final work in which the four dancers performed together: Aspiration (in three parts).
In the first part, Hope // Breath, Marisa Pace danced from one set of silks to the other, lifting them in a way that imitated the billowing sails of a ship. At one point she climbed up the silks and waved her arm like a bird in flight. Light on her feet, Pace beautifully illustrated the idea of hope. Jasmine Clark took over for Knowledge // Empowerment, climbing the silks and standing with her back straight, tall and in charge. She even moved the silks in such a way that she looked as though she was swinging effortlessly on a swing set. In Looking Forward // Looking Back, Alex Winer moved back and forth from one set of silks to the other, seeming to get stuck in the past, although reaching forward to the present. The struggle in reconciling the past with the present was evident in Winer’s frantic movements. Josie Baughman enters while Winer is still wrapped in the silks of the past, and frees her before starting the final piece, Grace // Acceptance. Baughman moves powerfully, climbing the silks and throwing her arms wide, embracing her reality. There is peace in this final work.
Aspiration (in three parts) begins with the sounds of slow breaths with all four dancers struggling to breathe or perhaps breathing through incredible pain. The jerky movements include strange positions with arched or curved backs and arms pressed against chests as they fight for breath. They move into frenetic dancing as they throw and twist the silks in a way that is almost opposite of the beautiful, soft billows of the Hope // Breath. At some points the dancers are in sync and at others they seem to be working against each other, until they begin to lean on each other. The poignant beauty of them holding each other up reminds the audience that we must help each other, love one another, and uplift one another. Those with chronic pain rely on each other for understanding, compassion, and assistance.
The music was unobtrusive, providing a background meant to enhance rather than overcome. Because these are structured improvisations, there was a “sameness” to the works, one piece blending into the next. I believe some of the dramatic effect is lost during improvisation, as they are unable to punctuate specific moments in the dance. However, the overall affect was beautifully dreamy, especially as night fell and the light coming in through the windows faded. Wu Fei on the guzheng in particular contributed to the ethereal nature of the pieces. Other members of the ensemble included: Timbre Cierpke on harp and vocals, Annaliese Kowert on violin, Paul Kowert on bass, and R. Aaron Walters on syth and percussion. As someone that struggles with a chronic illness on a daily basis, I was so grateful for this work and its exploration of chronic pain and illness. I particularly liked how the dancers embraced the painful or difficult moments, and still were able to find joy and peace.
Did you miss the chance to see this performance? I have good news for you: the musicians’ performances will be captured and incorporated into a performance of the full-length production of A Bending of Its Own Kind on June 1 and 2 in Knoxville, TN, hosted by Dragonfly Aerial Arts and Circus Studio.
