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

Megan Murphy Chambers as Sally Bowles (Photo: Sammy Hearn)

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.

Jordan Tudor as Fraülein Kost (Photo: Sammy Hearn)

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.

Brian Charles Rooney as the Emcee (Photo: Sammy Hearn)

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

Marisa Pace (Photo: Abby Whisenant)

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).

Jasmine Clark (Photo: Abby Whisenant)

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.

Alexandra Winer (Photo: Abby Whisenant)

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.

Mahler’s Tenth and the Problems with Completions

On May 16 to 18, 2024, conductor Giancarlo Guerrero and the Nashville Symphony produced, under the title Mahler’s Monumental Opus, a performance of the Deryck Cooke completion of Mahler’s 10th Symphony, which Mahler left unfinished at his death (the concert was postponed from April of 2020). For the first half of the concert, we were treated to a lecture by Maestro Guerrero that elaborated on the harmonic and thematic unity of the work, simultaneously introducing the primary themes of the work even as it apologized for Cooke’s completion, a completion that was long ago approved by Mahler’s wife, Alma (née Schindler). He gave a similar lecture on the piece at the very onset of the pandemic in April 2020. The evening represented a wonderful intellectual and aesthetic investigation unique to the world of music.

Music Director Giancarlo Guerrero

Simply put, performing a posthumous “completion” can be quite problematic—even one prepared by the eminent musicologist (famous for his catalog of Wagnerian leitmotives) Deryck Cooke. There are a number of completions in various positions within the repertoire and each have their own riddles. For example, Johann Sebastian Bach’s epic Die Kunst der Fuge (The Art of the Fugue) breaks off media res in the 239th measure of Counterpoint XIV, the last (?) fugue. The overall work was written with an ever-increasing sophistication in terms of subject and counterpoint leading a number of scholars (composers and musicologists) to attempt its conclusion, but none are really satisfying. I prefer Glenn Gould’s dramatic flourish and fade to black.

At least these Bach scholars had an overall design and organization (the increasing complexity) to build from. In 1988 Barry Cooper infamously formed an entire movement of what he would call “Beethoven’s Tenth” from 250 measures in sketch. In 2021, a would be modern Frankenstein, sought to employ AI to bring life to the work (“We found a way to feed Beethoven’s ideas into the AI and it advances them.” Yeah, right.)

Interestingly, the exercise (finishing a genius’ work) creates a unique Bloomian “Anxiety of Influence” in that the completer needs to recreate the sound and style of the composer even as they attempt to construct the innovations (the aspects that make the work different from the composer’s previous works) and the extension of the aesthetic process that might have determined the composer’s unfinished remains. No matter how close one was to the composer in life, how knowledgeable one might be of a composer’s intentions, completions can be problematic.

Franz Xaver Süssmayr’s “completion” of Mozart’s Requiem is just one example. Süssmayr was a friend and assistant to Mozart at his death and before as Mozart worked on portions of the Requiem. Indeed, Mozart’s wife Constanze would eventually ask Süssmayr to complete it. Nevertheless, and despite her approval, the work is fraught with challenges, which have been described as Süssmayr’s “transgressions.” Thus, the Requiem has enjoyed a number of competing 20th Century revisions, each of them too, is problematic.

One completion that has had success in entering its composer’s canon was Alban Berg’s Lulu. The first reason for its success is that a large portion of the work was already completed–two of the three acts complete with major sections of the third also orchestrated (and material used in an Orchestral Suite). What wasn’t orchestrated existed in short score with detailed indications of what Berg intended. Importantly, even in its incomplete state, for much of the 20th century the opera was performed and appreciated for the aesthetic development it represents over Berg’s previous masterpiece, Wozzeck. Specifically, Lulu contains a much more extensive use of serialism than Wozzeck, deriving character’s leitmotivs from the collection as Wagner does with melody, and it employs a formal symmetry that is clearly influenced by Webern, his colleague and fellow student of Schoenberg. Finally, as William Kentridge has noted, Lulu is much more of an interiorized opera, seeded in the depths of German expressionism.

All of these characteristics are clearly available in the remaining, unfinished score, and as such, in terms of influence, the completion was not necessary in order to understand the development of Berg’s compositional style, it only allowed for complete performance. As such Berg’s Lulu decidedly expresses more regarding the next developments of Berg’s style (had he lived), than the Requiem, Die Kunst der Fuge, or the Tenth Symphony tell us about Mozart, Bach or Beethoven respectively.

Gustav Mahler travelling from New York on the SS Amerika, April/May 1911

In some ways, Mahler’s Tenth Symphony lies somewhere between Berg’s and the other completions. With only two complete movements (the first and third of five) and the others requiring transcription and orchestration, there is a lot of music missing.  However, what remains, especially the first movement, is quite innovative and has been often performed.  Specifically, the build up to the colossal dissonance at the height of the first movement is an extension of the “Maximalism” and “Gigantism” that scholars have recognized in his work. The moment was wonderfully demonstrated by Guerrero and the ensemble in his lecture. The third movement, also completed by Mahler before death, is a curiously slight movement titled “Purgatorio” that breaks so far from previous works that one is drawn to biography for answers, indeed by writing “Erbarmen!!” (Mercy!) and citing psalm 21 “O Gott! O Gott! Warum hast du mich verlassen?” (“O God, Why have you forsaken me?”) in the sketches themselves Mahler invites the interpreter to his biography.

However, this is where his work is quite different from Berg’s. Mahler knew his health was deteriorating and death was imminent. In 1907, years before the work, he was diagnosed with a mitral valve defect and related, recurring endocarditis. Further, not only was he concerned with his legacy, he discovered that his wife, Alma, was having an affair with the architect Walter Gropius (a development that led him to Sigmund Freud’s couch, quite literally). Thus, it would seem that the Tenth Symphony partially expresses his torment at this stage of his life.

Above the fourth movement, a violent Scherzo, Mahler wrote “the devil dances it with me!” Cooke placed the primary theme of this movement in a solo trombone marked forte, creating a remarkably grotesque expression played wonderfully by Paul Jenkins in Nashville. Concerning the percussion that ends the movement (as the devil dances away), Guerrero, in his lecture, pointed to a profound connection between Mahler and Stravinsky’s Soldier’s Tale in which the devil is also portrayed in the percussion. One also notes that in Weber’s Der Freischütz the devil is always accompanied by three beats on the drum.

“Erbarmen!! O Gott! Warum hast du mich verlassen?” (“Mercy! O God, Why have you forsaken me?”)

“für dich leben, für dich sterben” (“to live for you, to die for you”)

Guerrero’s argument, and he’s not wrong, is that the entire symphony, including Cooke’s completion, should be performed, because of its thematic unity. Mahler brings the primary theme from the first movement back in the finale, creating a unified work and Cooke’s orchestration is stylistically close enough that the expression is viable. Merely hearing the first movement is incomplete, like hearing only the exposition of a sonata from, or the pilot for a whole season of the Game of Thrones. The extended expression is the work, and this, no matter how imperfect, is simply as close as we can get to Mahler’s intentioned expression. However, I believe it is the closing cadence that is much more important.

In his biographies, Mahler’s Ninth Symphony, especially its long ending completed just before the tenth was begun, is typically associated with his death, and the death of his daughter Maria Anna in 1907. This ending is often described as his last statement in life, about life, and it is a sad, marked resignation.

However, the ending of the Tenth, in sketch and in Cooke’s realization, concludes in a moving, peaceful and gracious way, matching the composer’s note to his wife in the sketch: “To live for you! To die for you!” Even at the doorstep of his death, this symphony doesn’t express resignation, it expresses an optimism and joy, and his passion for Alma that reminds the listener that Mahler was only 50 when he was taken from us, and there was much more music that might have been (a point that Guerrero makes clearly).  Considered broadly, it makes sense; Just as Beethoven’s symphonies come in pairs of contrasting moods, it is highly possible that Mahler felt joy, love, and gratefulness on the very same days that he felt the fear, anger, and pain of his approaching death–humans have complicated emotions.  What makes this completion important is that it both indicates the next aesthetic step taken in Mahler’s musical style but it also enriches our understanding of his musical and personal biography at one of the most difficult periods of his life..

As I left the Schermerhorn, I realized how lucky we are here in Music City. To be able to hear such a work, preceded by a close, nuanced, and interesting investigation of its merits, is simply remarkable for an orchestra in a city of Nashville’s size. Guerrero has lifted Nashville’s Orchestra to great heights and will leave a heavy baton for whoever will replace him in the Fall of 2025—not surprisingly he will end his tenure here next spring with Mahler’s Symphony for a Thousand (the 8th). On a related note, Cooke completed Mahler’s 10th Symphony for a BBC performance and then gave a detailed, illustrated talk in 1964, much the same as Guerrero has done here. Recently (early this month) Maestro Guerrero guest conducted with the BBC National Orchestra of Wales—conjecture abounds. In anycase, we hope the road rises to meet him and, in the meantime, the Nashville Symphony returns May 30-June 2 with Carmina Burana as well as Alban Berg’s Seven Early Songs and Mahler’s Songs of the Wayfarer.

The Nashville Ballet Tells Its Tale with Five Short Stories

It was exciting, no thrilling, to watch the story of the Nashville Ballet unfold before our very eyes. The narrative vigor, imagination, and artistry in Five Short Stories boldly declared a flourishing company whose future is seeded with care and attention. Past and present dancers of the company, plus new artistic director Nick Mullikin had free rein to create 10–13 minute works on any- or no subject with any music. All five took the reins of this challenge and galloped forward with skill and individuality.

Current dancers Aeron Buchanan and Anneliese Guerin interwove their choreographic imaginations with the musical imaginations of David Lang and Devin Farrell, composers whose works they know personally. Guerin chose to create a a romantic tale in three movements—A Moment in Time.

Distinguishing Features (Photo: Heather Thorne)

A couple dressed in pale, bride-like colors, meets amidst the bustling hubbub of New York City. Guerin wisely choreographs this scene in near slo-mo action giving a feel of fantasy. As the couple falls in love in the second movement, an attractive pas de deux, their hands often flutter near their hearts as a metaphor for the fluttering emotion of growing attraction. According to the choreographer some of the coordination with the composer was only settled the week before, and it did seem as some of the awkwardnesses in embrace releases for the couple needed a bit more rehearsal time, but this was nevertheless an effective piece. This is particularly the case in the third movement when the bustle returns, but ends dramatically with a darkened stage suddenly lit by two spotlights, showing the lovers now widely distanced from one another.

Buchanan chose a more audacious path for his Distinguishing Features. As his pre-concert talk revealed, he wanted to create a piece that “show the dancers in their own unique way.” He even worked with the dancers, allowing their input on costumes that ranged from Japanese schoolgirl pleated skirts, shirtless vests over bell bottoms, and kilt-like skirts over leggings, through more traditional short-skirted leotards. Son of a dance teacher, Buchanan used a more classical step vocabulary, like the bourrée en couru (quick tiny steps en pointe) that paired agreeably with the clanging minimalism of David Lang’s electronic music. The individuality of each dancer’s strength made the piece resemble a stylized warmup with leaps and splits and writhing in varying directions. This was, deservedly, one of the most enthusiastically received pieces.

Current NB dancer Imani Sailers and former dancer Julia Eisen chose to take the “story” element more literally, each selecting a well-known short story with a female protagonist. Interestingly, “The Red Shoes” (Hans Christian Andersen) and “The Yellow Wallpaper” (Charlotte Perkins Gilman) both feature women whose desires are quashed as invisible or unworthy by an unfeeling society. “Red Shoes,” introduced by Sailers in striking red stack heels, was chosen because of its name and its fame in the dance world in renowned films about the obsessive nature of a dance career released in 1948 and 2020.

Red Shoes (Photo: Heather Thorne)

Although I typically approach the pairing of major composers of past eras with living composers of today with trepidation, Sailers chose well in three string quartet movements from Impressionists Claude Debussy and Maurice Ravel, and current composer Jennifer Higdon who skillfully merged her artistic voice with quotes from those who preceded her. Emily Ireland-Buczek and Garrett McCabe served well as the little girl who desperately wanted red dance shoes and the mysterious red-dressed entity that shadows her. There was more mirroring, little touching in their pas de deux, as hooded figures, much like the kōken in Kabuki theater (black-hooded stagehands and dressers who are intended not to be seen) carried them about the stage.

Sailers’ most creative work declared itself in the second movement performed to the second “assez vif (quite lively)” movement of Debussy’s sole string quartet.  Quick modern foot movements, like tapping the instep on the floor, coupled with more classical postures, clearly indicated the shoes’ independence from the girl’s will. This strong work bears repeated performances, hopefully becoming part of the NB repertoire.

Yellow Wallpaper (Photo: Heather Thorne)

Like Sailers, Buchanan, and others on the program, Eisen worked with talented costumier Mycah Kennedy. Kennedy, whose work also shone in NB’s first dance festival in July 2023, consistently adds depth and inventiveness to NB productions. Eisen’s elegant work was rehearsed and introduced by Kate Crews Linsley, one of NB’s rehearsal directors. The work was the most classic in tone, which fit the story’s late romanticism. Eisen’s choice of music by Florence Price, the first African American woman to have a symphony played by a major orchestra, was indeed inspired.

The protagonist is a woman (Claudia Monja) in a deep depression whose husband, a physician (Nicolas Scheuer, basically tells her she’s hysterical, it’s all in her head. She becomes obsessed with the putrid yellow bedroom wallpaper in which she sees three phantasmic women (Sarah Pierce, with Marissa Stark and Kennedy Brown) who gracefully disappear whenever her husband enters the room. The two painted flats on stage were just enough set for this gently horrifying story. The elegance of the beautifully drifting phantasms enhanced the atmosphere as the narrator finally breaks from reality, desperately ripping the paper off the walls. The husband enters, sees the damage, and collapses in horror. Beautifully choreographed movements of the narrator and her fantastic companions eerily continue well past the ending cadence of the music. Another powerful piece for this already strong program.

The final work, Where We Were Supposed to Be, by Nick Mullikin, featured music by romantic works Brahms, Schumann, a neo-romantic work by Cristina Spinei, and a more upbeat popular music work by Madi Diaz. With two couples in white and shades of gray, the intent is to depict the rejection of “what we truly want…for fear of what we are supposed to want.” As the work nears the liveliest music at the end, the turns and spins match that energy. It was an attractive piece that might have worked more effectively at the beginning or as the second work among these truly powerful artists producing a truly powerful storytelling.

 

Dum Spiro, Spero: SONUS Choir’s Tenth-Anniversary Concert

One of the things I love about being relatively still new to Nashville is discovering musical organizations unknown to me that call the Music City their home. On May 10, 2024, I attended SONUS Choir’s—a Nashville-based modern acapella (or a Capella) choir—concert held in Wightman Chapel at the Scarritt-Bennett Center, located just East of Vanderbilt University, celebrating their tenth anniversary. Their program consisted of several pieces of the contemporary choral-music canon, but the highlight was undoubtedly the world premiere of Dum Spiro, Spero, written by the choir’s Artistic Director and co-founder Timbre Cierpke, a moment that made us all feel privileged to be a part of this special event.

Timbre Cierpke, SONUS’s Artistic Director and Composer

As mentioned, one of the purposes of this concert was to commemorate SONUS’s ten-year anniversary and their meaningful history. According to Cierpke, SONUS started as an alumni-singing ensemble made up of former members of the Trevecca Madrigalians, a touring acapella choir of Nashville’s Trevecca Nazarene University. However, since 2018, Cierpke and choir leadership started on their journey toward taking SONUS to new levels, holding its first open auditions. Today, SONUS continues to mature and develop, comprising twenty-two members and retaining six of its original performers.

Further commemorating SONUS’s history the world premiere of Cierpke’s composition, Dum Spiro, Spero (“While I breathe, I hope”). In addition to being SONUS’s Artistic Director, Cierpke is also a founding member; she introduced this piece as an expression of how much the choir means to her. Cierpke also took inspiration from a Swedish-led scientific study, tracing the individual heartrates of singers who participate in choir. The experiment reveled that the disparate heart rates of individuals aligned and synchronize while singing together. Cierpke quoted the study:

Singing regulates activity in the vagus nerve, which is involved in our emotional life and our communication with others [….] Songs with long phrases achieve the same effect as breathing exercises in yoga.

Cierpke likens the phenomenal effects of breathing and singing together to a certain spirit of close engagement between members of SONUS. Quoting Job 33:4— “The Spirit of God has made me, and the breath of the Almighty gives me life”—we have, “While I breathe, I hope.” The title of the work, Dum Spiro, Spero, is a juxtaposition of the scientific study, biblical scripture, and human connection. Chierpke expands:

You can hear in this scripture (Job 33:4) that [the words] spiritus, “spirit,” and spiraculum, “breath,” have the same root. I wanted to draw on this connection between the breath and the spirit, that as we breathe and sing together, we are connecting to each other in our spirits in a way that goes beyond our similarities and differences, connecting from our cores.

The notion of an alignment of singers’ breath is conveyed musically by the literal sound of unified breathing by the singers. Glissandi gestures of disparate pitches slowly slide into unison. An especially intriguing musical device occurs after the initial glissandi when higher voices and lower voices slide their sung pitches toward each other. A crackle of dissonance occurs as the collection of notes meet and clash in the middle before passing and pushing away and forming a beautiful assembly of warm harmonies. The idea is that audiences hear a sonic representation of disorder transform into order—individual voices come into one accordance—within a single extended musical gesture—it was gorgeous.

Another piece featured on the program is Eric Whitacre’s (b. 1970) Leonardo Dreams of His Flying Machine (2001). SONUS’s Director of Business Development, Garen Webb, introduced and led this piece, describing how Whitacre conveyed Leonardo da Vinci’s obsession with flight using extended vocal techniques, extended harmonies, and text paining. Leonardo Dreams of His Flying Machine elicits essences of a Renaissance spirit drawing from an Early-Seventeenth-Century Italian mannerist vocal-music style. The piece’s declamatory opening looks back to the madrigals of Claudio Monteverdi (1567–1643), dramatically stating the piece’s title, using a powerful homophonic texture immediately followed by a complex descending chain of harmonic suspensions in the higher voices. Next, the musical texture features non-chordal movements capped off by a “Monteverdi trill”—or a “goat’s trill,” or a trill-like, rapid repetition of a single pitch—sung by a solo soprano, ushing in the first cadence, or stopping point. Indicative of Italian Renaissance choral music, Whitacre conjures bold images through a musical device called text paining; words describing ascension, like “flight,” are set to figures of ascending pitches, and words signifying descension, like “falling,” are accompanied by descending figures. Important to note about Whitacre’s compositional style is how he seamlessly infuses a Twenty-First Century harmonic vocabulary into the Renaissance choral style. The composer gives us a banger-after-banger mixture of tertian (nice sounding harmonic) relationships that are gradually corralled before colliding into a tight, “crunchy” bundles of dissonant sonorities—absolute ear candy! Upon first hearing much of Whitacre’s music, the listener is left to wonder what comes next. SONUS’s performers successfully executed this piece’s complexity. They maintained an exquisite composite sound, maintaining balance across the ensemble through the piece’s many tricky transitions. Wonderfully done!

Additionally, I really enjoyed SONUS’s performance of “En Une Seule Fleur” (1993)— or “In One Flower”—by Morten Lauridsen (b. 1943). “En Une Seule Fleur” is the first of a collection of five poems by Rainer Maria Rilke that Lauridsen set to music for choir; the cycle is called Les Chansons des roses—or “Songs of the Roses.” If “the powers that be” read this review, I encourage them to perhaps perform the entire Les Chansons des roses, since according to analyses of the cycle, there are fascinating structural components used throughout the five movements. Choral specialist Jerry McCoy describes how the entire cycle “emphasizes the interval of a major second,” and how the main ideas of other songs in the cycle are fashioned into the melodic construction of “En Une Seule Fleur.”[1] This piece was one of my favorites on the program because I loved the textural contrast between sections. Homophonic textures of syllabic text using discernable harmonies and voice leading are layered with contrasting highly expressive imitative textures—a parfait, if you will. All sections pulled their weight equally, but I want to give a special “shout out” to the altos for how they were key in driving those points of imitation.

Further, other pieces included on the program are: Ubi Caritas by Ola Gjeilo (b. 1978), Gaelic Blessing by John Rutter (b. 1945), The Swallow by Caroline Shaw (b. 1982), Let My Love Be Heard by Jake Runestad (b. 1986), Long Road by Ēriks Ešenvalds (1977), Earth Song by Frank Tichelli (b. 1958), Bogoróditse Dyévo by Arvo Pärt (b. 1935), Alleluia by Eric Whitacre, and E’en So, Lord Jesus Quickly Come by Paul Manz (1919–2009).

Generally, SONUS has a beautiful, well-balanced composite sound, and audiences are treated to such a beautiful and inspiring array of wonderful music by prominent and contemporary choral composers; I look forward to following SONUS as they progress to new levels. The May 10 concert capped off their 2023–2024 season. However, be sure to visit their website in the coming weeks to learn about what they have in store next season at https://www.sonuschoir.com.

[1] Jerry McCoy, “Choral Poetry: The Extended Choral Works of Morten Lauridsen,” The Choral Journal 35, no. 4 (November 1994): 25–30, 28.

A review of POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive

Nashville Repertory Theater closes its 39th annual season in a promising and open-ended tone with the staging of POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive. Before I start reviewing the show, I would like to clarify that my reference to the assumed/assigned genders of the characters is based on the official descriptions made by the playwright and the team that has realized the staging of this play.

Kris Sidberry as Chris and Tamara Todres as Jean

Selina Filinger’s 2022 play is a farce where seven exceedingly witty women pan out in clumsy actions and humorously embarrassing events. They are all closely related to the president of the U.S. but that is not the only thing they have in common: POTUS makes an unforgivable sexually denigrating gaffe towards the first lady, one that snowballs the already fragile global political relationships and the seven of them will put everything they are and ever wanted to be at risk, to save the president’s reputation. As they try to pull the most powerful man in the United States out of the gutter that may have repercussions on world peace, they reinforce their own denigration and oppression, while each of them is in fact much worthy and capable of being the president of the country themselves.

Director Lauren Shouse who introduces the play to Nashville audiences, forwards Selina Filinger’s dedication of the play to “any woman who has ever found herself as the secondary character in a male farce.”

It is rather tragic really, to see these seven bright women chasing their tails around the stage, trying to cover up for a ubiquitous man whose only physical presence is that of his lustrous black shoes. The play is staged in two parts, with a 15-minute break in between, which offers enough time to imagine the direction the show will take during its second part. Do we anticipate the animosity between these women to wrongfully confirm the hysteria etiquette historically labeled on women as a weakness, utilized to keep them away from important leadership positions or is the play going to take a more optimistic turn?

Left to right_Rachel Agee as Bernadette, Lauren Berst as Harriet, Tamara Todres as Jean, Tamiko Robinson Steele as Margaret, Quincey Lou Huerter as Dusty

In terms of staging, the crescent moving stage walls representing the inside of the White House, designed by Gary C. Hoff as well as the snapping instead of sliding blue-ish lights designed by Darren E. Levin enable the short scenes to sink in and flow with a smooth tempo while allowing the audience to delve into laughter.

The first lady, Margaret, played by Tamiko Robinson Steele, is brilliantly cynical due to being overqualified yet diminished to hosting sumptuous events . Chris, played by Kris Sidberry, a black journalist determined to advance in her career while a single mom of twins, bitter sweetly running around with milking pumps dangling from her top, corners and criticizes Margaret (written to be played by a black woman) as not caring about black women’s struggles, but Margaret answers something along the lines of “I don’t subscribe to identity politics”. These are very interesting threads of potential discussions that unfortunately don’t get developed in the play, as the focus is sucked by the omnipresent but physically absent POTUS.

Lauren Berst is very believable as the chief of staff Harriet, an octopus of a woman, trying to cover up for multiple diplomatic cracks from behind the scene, while Jean, the president’s handler, played by Tamara Todres appears to be on top of her game, until her achilles heel, her ex-lover Bernadette, president’s sister shows up. Bernadette, played by Rachel Agee, an ex-convict waiting for the presidential pardon, infiltrates misdemeanor in what is supposed to be the exemplary house of the rule of law.

The sound of the show, designed by Sara Johnson adds an enriching texture to the slapstick short scenes. Pop feminist songs juxtaposed by patriotic rock songs interpreted by Dusty (Quincey Lou Huerter), the farm girl, fortuitously entering the White House drama and the insecure yet ambitious Stephanie played by Darci Nalepa Elam, add much spice to the show.

Darci Nalepa Ela as Stephanie

The negligent annotations among the characters about their haircuts or the costumes they are assigned to (designed by Melissa K. Durmon), not sparing here POTUS’s crocs slippers, may be read as a reinforcement of the stereotype but they may also be read as a critical commentary on the judgmentalism of appearance among women. In his essay on art criticism, English art critic, novelist, painter and poet John Berger writes “Men look at women. Women watch themselves being looked at.”

At the end of the play, the seven women unite, realizing they can only stand against the patriarchy together. Their gaze is turned towards the audience. They are not watching themselves being looked at; what they see is their future selves, taking over.

I often feel conflicted about laughing at serious issues, on the other hand, laughter is a way for humans to ridicule themselves and this surely is healthy for the ego. The show was utterly entertaining, and it brought lightness to the quite heavy topics it elaborates.

From Our Far-flung Correspondents Series:

“Colorado Symphony – A Mile Above with Smyth, Prokofiev, and Brahms”

Performing at 5280 feet above sea level and giving at least 5281 reasons to fall in love with the Colorado Symphony, the music of Ethel Smyth, Sergei Prokofiev, and Johannes Brahms dazzled.

Celebrating its centennial artistic season, the Colorado Symphony is the only full-time professional orchestra in the greater Denver region. Presenting performances in various categories – Classics, Symphony Pops, Spotlight, Family, Holiday, Movie at the Symphony, and Alternative – the organization strives to fulfill its mission of being, “The future of live, symphonic music.”

Boettcher Concert Hall

The Colorado Symphony’s primary residence is Boettcher Concert Hall. Built in 1978 and renovated in 1993, this venue is part of the Denver Performing Arts Complex, which also houses the Colorado Ballet, Denver Center for Performing Arts, Opera Colorado, and various national acts, local groups, festivals, conferences, and public events. Boettcher Concert Hall is the nation’s first symphony hall constructed in the round, resulting in 80% of the audience seats being within 65 feet of the stage. The seats themselves are also unique, having been designed with steam-bent plywood that acoustically simulate a full house regardless of actual audience size.

Before concerts within the Classics Series, violaist Catherine Beeson prepares interested patrons with a lecture that introduces the music soon to be heard in performance. Beeson makes materials available cited within her lectures, called Preludes, on her personal website within the Cool Nerd Stuff section. For this concert, Beeson crafted a thread through the program’s three pieces, the genesis of the lecture taking inspiration from High Anxiety, the psycho-comedy starring Mel Brooks.

Catherine Beeson is a perfect guide, able to introduce novices to concert music, while still providing enough content for those more learned – and all of this while making connections to current societal happenings. For example, Beeson referenced the current rap battle between Drake and Kendrick Lamar before introducing the following nuance about Johannes Brahms’ Symphony No. 3 and his well-known feud with Richard Wagner:

Lorelei Rock in 1900

Random drama for you to chew on: Even though Brahms respected his work, he and composer Richard Wagner had a pretty nasty public feud going on, and even though Wagner died months before Brahms composed Symphony No. 3 the fur was still flying in the community so much so that Wagner supporters tried to wreck the Symphony’s premiere.

Random conspiracy theory for you to chew on: In his Symphony, Brahms included a musical quote from Wagner’s [Chorus of Sirens]. The spot on the Rhine River where Brahms composed the Symphony is also very near the infamous Lorelei rock cliff, named after the siren-like water spirit that lured sailors to crash their ships. Was [Brahms] honoring Wagner’s composition skills, mocking his death, OR WAS HE PREDICTING ETHEL SMYTH’S 1904 OPERA THE WRECKERS AND THIS WEEKEND’S PROGRAM LIKE A SYMPHONIC NOSTRADAMUS. You be the judge.

Shortly after Beeson was done preparing our listening, the Colorado Symphony took to the stage wearing all black, contrasting guest conductor Jun Märkl, who wore white tie and tails. Märkl serves as music director of the Indianapolis Symphony Orchestra and Taiwan National Symphony Orchestra, will become the chief conductor of the Residentie Orchestra the Hague beginning in 2025, and performs as principal guest conductor of the Oregon Symphony. The Colorado Symphony played well for Maestro Märkl throughout the evening; perhaps the aforementioned disconnectedness with respect to wardrobe didn’t penetrate the artistic relationship between conductor and ensemble.

Dame Ethel Smyth

Opening a concert with Dame Ethel Smyth’s “On the Cliffs of Cornwall,” Prelude to Act II from The Wreckers was an interesting choice; however, a choice seemingly fitting of a composer who defied convention to the point of becoming an imprisoned suffragette. Some have submitted that the opera The Wreckers is thought to be the most important English opera composed in the 300-year period between Henry Purcell and Benjamin Britten. Principal oboist, Peter Cooper, and Michael Thornton, principal horn, helped support such a submission with the solo melodies they offered that became increasingly enticing as the work developed. The Colorado Symphony played with such sensitivity to ensemble balance, often replicating what has become expected of an audio recording that has undergone post-production editing.

The second piece offered was Violin Concerto No. 2 in G Minor, Op. 63 of Sergei Prokofiev, with soloist Stefan Jackiw. This season alone, Jackiw is scheduled to perform with the New York Philharmonic, Taiwan Philharmonic, and the China National Symphony, in addition to presenting multiple world premieres at Roulette, curating a series of programs for the Edinburgh Festival, and making a debut with the Junction Trio (Conrad Tao, piano; Jay Campbell, cello) at Carnegie Hall.

Stefan Jackiw

Jackiw’s intonation was impeccable and matched by the flute-oboe-clarinet sections throughout some rather exposed moments. The bassoon playing was equally impressive, although decidedly more present than what may have been expected. Maestro Märkl often asked the ensemble to play quietly to powerful affect, but when then asking for a more present volume, the result seemed to be an out-of-portion dynamic cliff that was navigated less gracefully in order to be achieved. Stefan Jackiw’s technical abilities towards the end of the Concerto were hypnotic with precision, much like the way musicality oozed from his soul throughout the 2nd movement. A final accelerando to end the composition left some in the orchestra catching up, but a tempo risk that should continue to be encouraged, nonetheless.

The Colorado Symphony ended the concert, or so the program suggested, with Symphony No. 3 in F Major, Op. 90, by Johannes Brahms. This worked proved to be the highlight of the program, in part to the way in which the cello section contributed to the composite. Seoyoen Min, who performs from the Fred and Margaret Hoeppner Principal Cello Chair, led powerfully throughout tutti melodic moments in the 3rd movement. Credit should also be given to principal trumpet, Justin Bartels, for using rotary trumpets on this piece. Brahms composed an ending that recedes in both activity and dynamic. The pacing of this section, in particular the final release, felt a bit abrupt. Fortunately for concertgoers, a planned encore of Brahms’ Hungarian Dance No. 5 left all happily bouncing out of the concert space.

Following performances within the Classics Series, conductors and/or soloists make themselves available for a question-and-answer session with audience members interested in extending their experience. Both Maestro Märkl and Jackiw participated, thoughtfully responding to a variety of questions about both the music and their lives. From the Prelude with Beeson, the performance, and the Talkback with conductor and soloist, one can quickly become rather invested to the Colorado Symphony – even more so when one is able to share such a thorough experience with someone special, as I was able to do with my first band director, Gary Hoffman.

It feels appropriate to offer the idiom that the sky is the limit for the Colorado Symphony, but the group already performs in the sky. To infinity and beyond, then, for the Colorado Symphony!

Frozen: Perfectly Fine

The film this musical is based on was such a hit in 2013 that anyone alive then or since then is at least aware of it, its characters, and can hum “Let it Go.” I’ve seen near infinite Frozen merchandise over the years, ranging all the way from boxed Mac & Cheese to men’s sweaters. I was a teenager when it came out and saw it in theaters with friends, enjoyed it and even bought the album off iTunes (possibly the last digital album I ever bought). In this review I’m going to assume that you’re seen it, because if you maintained the effort to avoid seeing it for the past eleven years you’ll have no interest in this review anyways. 

Anything and Everything Frozen

Disney took its time making the adaptation, which made its Broadway debut in 2018, continuing until the COVID lockdown. The North American Tour began in 2019 and continued after the COVID interruption, playing its 1,000 performance earlier this year. Jennifer Lee, who wrote the film, did the book, and the original song-writers for the film, husband-wife duo Robert Lopez (co-creator of The Book of Mormon) and Kristen Anderson-Lopez wrote the new music for the Broadway adaptation, promising at least the potential of equally good songs. 

Before going in to see it, my greatest hope for the Broadway adaptation was that the notable lopsidedness of its music would get balanced: the first half of the movie has seven fabulous songs, some almost back-to-back, yet the second half has only two, one of which is a reprise. Perhaps the plot would get fleshed out a little too: they’re orphaned as children and Elsa isn’t crowned until she comes of age, but there’s no a regent, or even anyone in an authority position. There’s nobody to take the command of the land when the princesses disappear except for some random foreign prince who is unofficially engaged to the younger princess. I also hoped Kristoff would be likable, his personality expanded beyond being a crude masculine stereotype.

The adaptation doesn’t give new depth, but parts are changed: Elsa is shown to have a little more compassion and care for others. Kristoff is indeed improved, now a somewhat brusque but kind and independent man who is an outsider rather than a loser. Hans is also better, maybe because they didn’t give him those creepy sideburns. The scheming ambassador from Weselton still basically does nothing, but is funnier.  Sadly, though, Anna (my favorite character in the film) is now slightly annoying. Most notably, there are no rock trolls, but “Hidden Folk,” rustic people half-dressed in wild nordic furs. It’s an understandable choice, but it would have been delightful to watch a lavish puppet show for the trolls (the animated trolls do have a rather Muppety look). Instead, the Hidden Folk deliver the same lines while doing a squatting-swaying movement in an attempt to convey wildness. 

The adaptation tries to add a few jokes for the parents by adding clumsy innuendos. Anna’s song “For the First Time in Forever,” has its tone shifted by these jokes, from being joyful and hopeful to a little, well, horny: Anna strokes a bust of a man’s muscular torso, and then later, when singing with Hans, puts her flat hand on his chest and slides it a few inches lower towards his crotch. It is unexpectedly awkward. This isn’t helped by the fact that the woman playing teenage Anna is clearly an adult. Usually innuendos make me chuckle, but these annoyed me, probably because they change the tone of the innocent Disney brand fairy tale.

Obviously, the music is a big part of the musical, particularly the new songs created specially for it. It was an impossible task. To begin with, most viewers are lovingly familiar with all the songs from the movie. So how can you insert new songs in the same story and not have them feel like interlopers? The new music is fine, but not particularly memorable, and at times feels a little retro-80’s pop unlike the film’s music. One musical choice I actively disliked was the replacement of the “For the First Time in Forever (Reprise)” when Anna finally confronts Elsa in her ice castle. It’s such a thrilling musical moment with an expert blending of their two contrasting melodies, and it was replaced with an unfamiliar song communicating mostly the same thing, except now without Anna. At least now the number of songs in the second act make it feel more balanced, as I had hoped.

The musical’s special effects have been talked up, and they aren’t bad. Most of the effects are flashes of light, sprinklings of snow, and well-designed projections casting a limn of frost over the stage. A few moments are surprising, ice-like confetti appearing from unexpected places, or when young Elsa and Anna build a moving Olaf from toys in their bedroom. My favorite effect is at the end, when Anna is frozen. The ensemble has been dancing around in all-white attire, personifying the blizzard, and suddenly they join her, draping a massive cloth over her and themselves. At that moment they become motionless and the projectors blast a perfectly designed image of frost over them. They truly look frozen. The moment that got the biggest gasp from the crowd is during Elsa’s “Let it Go.” In the film there’s a moment when she magically transforms her dress. Here they have her on a high portion of the stage and she dramatically throws her arms down to have the dress suddenly ripped off to reveal a sparkling dress underneath.

Sven and Olaf. Photo by Matthew Murphy

The special effects and costuming meet to create Olaf and Sven. Olaf, the dismemberable snowman, is a large chest-high puppet, attached to the actor playing the role. He moves the mouth and hands of the puppet, and the Olaf’s feet are attached to his own. The actor wears an all-white Scandinavian outfit with a funny hat. The puppet is fun to watch, and you can see the actor’s face for more detailed expressions. Sven, whom I found boring in the film, is the coolest thing on stage. The detailed design is cool, with an animatronic look and movement to its features, but containing a person who nimbly walks around on all fours. I found myself staring at Sven every moment he was on stage. To see a quick montage of the costume, piece by piece, see The Secret Life of Sven – The New York Times

The costumes are lovely and lavish. Even the common people’s attire have many layers of cloth, which they use as they dance to create added movement. The ensemble’s choreography is fun, especially at the ball, but the main characters generally just stand and sing. The new song to start off the second act, “Hygge,” involves a goofy “nude” chorus line of sauna-goers who always manage to cover themselves up with tree branches, and it got a lot of laughs.

Lauren Nicole Chapman and ensemble, photo by Matthew Murphy

The set pieces are great, massive and with layers giving added depth to the stage. The backdrop is a large screen, and it’s used exactly as it should be: as a backdrop. It works well with the set pieces and deftly joins in with the special effects of frost and snow. My favorite set is the castle, with its attractive wood walls and designs. 

I saw the show Wednesday, May 8, so the audience was smaller than it would have been had there not been tornadoes. A large swathe of the crowd was families with children, boys and girls. Most of the girls were in some degree of Elsa attire. I discovered that TPAC has booster seats for Jackson Hall. The kids behaved well, although at one point, when Olaf sings his song “In Summer,” there’s a classic joke, “Winter’s a good time to stay in and cuddle, but put me in summer and I’ll be a [comical pause] happy snowman!” Some little boy towards the front yelled out “Puddle” with uncontrollable enthusiasm in that moment of quiet and got everyone to laugh, including Olaf. During intermission kids were hyper and happy: the show kept them engaged and they seemed to enjoy it a lot. The musical is barely longer than the movie, and that is counting the one twenty minute intermission.

Caroline Bowman does a fantastic job as Elsa (a must when we’re all familiar with Idena Menzel’s version). Lauren Nicole Chapman has a strong, capable voice. Nicholas Edwards makes the best version of Kristoff, a marvelous singer and a winning actor. Preston Perez makes Hans actually charming and I wish we could see more of his villainous side. Jeremy Davis is eminently likable and has perfect comic timing as Olaf, puppeteering smoothly.  Weselton is played by Evan Duff, who makes the character’s bad dancing hilarious. Dan Plehal played Sven the night I attended with impressive agility.

I took a lot of space here to say something simple: the musical is a solid adaptation of an excellent children’s film, and it faces all the usual limitations of adapting from animation to live action. Too big to fail, Frozen: The Broadway Musical would be a hit even if everyone involved completely dropped the ball. Luckily, they didn’t. Adults will find it good enough, superfans will automatically love it, and the kids will really enjoy it. For children new to Broadway Frozen could be a good way to start their experience.

Frozen will continue at TPAC’s Jackson Hall through May 18. For tickets and more information, see Disney’s Frozen | Broadway Shows in Nashville at TPAC or Disney FROZEN | The Broadway Musical.