Now My Favorite Color is Purple
Sitting down in TPAC’s Polk Theater, the stage is distinctive, all dark, wide, wood planks. There is a slight platform in the center of the stage, and all entrances and exits are made through subtly hidden doors or doorways in the wooden walls. The backdrop is also all wood, the center of which has planks angled to form a simple, upward arrow. This stage sets a mood, indicating an aesthetically pleasing view of rustic Southern mid-20th century poverty. There are no sets in the musical because the stage is enough, and because the story and songs move so fluidly and quickly from one moment to the next that any attempt to have sets keeping up with that would become frenetic.
The Nashville Repertory theatre is performing the Broadway adaptation of The Color Purple, which is based both on the book and its film adaptation. I have neither read the book nor seen the movie (or the 2023 film adaptation of the musical), so my judgment of the story is based on this presentation, which I found to be excellent. The book is epistolary, which makes for great reading but presents a challenge when changing formats. The adaptation very rightly doesn’t try to force the play into that format. Some letters are exchanged, but there is no narrator or awkward plot framing: lighting is used simply and cleverly, beaming down when characters need to be separated or connected with others.
The story seems very bleak and unpleasant when written down summarily: Celie lives a hard life, abused by men and stuck in a situation that she thinks she can never escape. We meet her as a pregnant 14 year old African American girl living in a poor rural area in Georgia. After giving birth to her second child, her Pa gets rid of it in the same mysterious fashion he did with her other baby. She’s soon married off to Mister, an older local farmer who wants a wife to watch his kids and house, despite his irritation at her bad looks; he’d much prefer her younger sister. Her sister Nettie tries to come stay with them because Pa is making advances on her, but when Mister hits on her she runs off, promising to write to Celie every week. Time passes. Celie meets and admires two very different, independent women: Sofia, who marries Harpo (Celie’s stepson), and Shug Avery, the singer who is always accompanied by scandal. She learns what it is to develop strength in what seem to be impossible situations.
This all sounds like a character-building but difficult watch. Two things prevent that from being the case: first, the presentation of the abuse and hardship is so cleverly balanced. We’re not forced to watch extended scenes of physical abuse, like in Tina- The Tina Turner Musical. Instead most of the abuse is mentioned casually, as a matter of fact, making it invisible and yet all the more impactful: when Celie gives birth to what we find out is her second child, she gives it up to her Pa. Nettie asks why she gave the baby up and Celie answers simply, “Well, it’s his baby.” Ouch. Second, the musical is so very funny. Celie rarely is snide or cracks a joke, but most of the women, especially Sofia, are hilarious. Their wit and refusal to let men control them (despite the men’s best efforts) is entertaining to us and inspiring to Celie. There is no monotony of suffering.
The only weakness in The Color Purple is its attempt to deal with theodicy. Celie, living her hard life, justly asks why a good God would let these things happen to her. This vital question is blurred, conflated with the discovery of self-worth, and answered by a non sequitur: God is inside her and in everyone else. This isn’t an actual answer to the question of why bad things happen to good people. The problem of evil remains: if God is in her stepfather, why would he still sexually assault her? However, the development of Celie’s character from abused child to a strong, independent woman, her growth through sisterhood, is an unequivocally inspiring story. And although it is fiction, it authentically represents the women who often go unmentioned: American history is full of African American women who have been handed an unfair, hard life, and who, through strength and community, have made the world a better place.
The music is great and has multiple styles: blues, soul, and gospel. The genre best suited to Broadway adaptation is probably gospel, because it requires vocal virtuosity and talented choirs. The Nashville Repertory does the music very well, with a strong band and fantastic singers. Most of the music is upbeat and fun, with the majority of the ballads in the second act. My favorite part of the music is the Greek chorus, three gossiping church ladies who talk over each other rhythmically and have marvelous harmonies.
Such a show requires real talent from every member of the team, and the Nashville Repertory Theatre provides it. The leads’ singing is virtuosic, the ensemble numbers are energetic. Joi Ware’s choreography is fun and matches the quality of the music. The cast is strong. Celie is played by Carli Hardon, who is absolutely lovely in the role. She plays child Celie with a natural youthfulness and her development from beaten-down woman to independent woman with a bedrock of strength is captivating. Her longing for the children she was forced to give up is moving. My favorite character in the play is Sofia, the healthy-minded, independent woman to whom Celie looks up as an ideal. Shinnerrie Jackson plays her with such good comic timing, with such hearty humor, and a fantastic voice. Tamica Nicole is Shug Avery, the sexy and scandalous singer who is another ideal and a love interest, voicing her role impressively. The men in the play are mainly abusive, but they aren’t one-dimensional. Elliott Winston Robinson plays Mister, and his portrayal of this unlikable man is nuanced. Gerold Oliver is Harpo, his son, who is a better man than his father, but who mistakenly wants to emulate him. His attempts at mimicking his father’s behavior is tragic and very funny, and his mixture of vice and virtue, of response to the generations of men in his family, develops naturally. The gossiping Greek chorus is played by Lindsey Kaye Pace, Yolanda Treece, and Meggan Utech, and they have incredibly tight harmony.
Nia Safarr Banks’s costumes and Joonhee Park’s scenic design are perfect for the musical, and Dalton Hamilton’s lighting is spot on. The band, led by music director Dion Treece, is great. Director Reggie Law has made sure the show is tight and impactful.
The Color Purple is a good show, whether you want something to provoke you to think, to examine African-American history, or you just want to watch a talented group perform an entertaining musical; it’s all of these things.
The Nashville Repertory Theatre will be performing The Color Purple at TPAC’s Polk Theater until April 14th. You can find more information at The Color Purple | TPAC and The Color Purple — Nashville Repertory Theatre.
At the Schermerhorn
Shostakovich Framed by Beethoven!
On April 5 & 6 the Nashville Symphony presented Beethoven and Shostakovich, a rather odd concert that framed Dmitri Shostakovich’s first Cello Concerto, played by Zuill Bailey, with Ludwig van Beethoven’s symphonies No. 8 and No. 4. The selection of these pieces is “odd” because they are literally even, namely choosing exclusively even-numbered Beethoven symphonies, a set that have long been recognized as being lighter, backward looking (as is the case with number 8) and with an emphasis on charm that is overshadowed by the gravitas of their odd counterparts. However, against the immense grandeur of the fierce Russian concerto, written in 1959 by Shostakovich for his friend, the virtuoso Mstislav Rostropovich, Beethoven’s symphonies provided a balanced, dare I say “classical” contrast that made for a rather enchanting evening.
The concert opened with Beethoven’s 8th, a concise essay composed without introduction or slow movement. Instead of a slow introduction, the movement is marked by a “tick-tock”, marked with a wonderful optimism by the Nashville woodwinds that reminds the listener that Beethoven had just become acquainted with Johann Nepomuk Mälzel and his “chronometer” (metronome). (Musicologists have since determined that the story of the relationship between the movement and the metronome is probably bunk, but if tradition inspires it, who listens to musicologists anyway?). Nashville’s horns in the middle of the third movement “Menuetto” allowed themselves to stand out in a proper, classically-minded, Beethovenian manner. In all it was a delightful performance.
Similarly, after intermission, Beethoven’s 4th Symphony was performed in a delightful manner. Again, especially the woodwinds, with the dialogue between the oboe, flute and bassoon that makes up the second theme of the first movement. The final movement, with its perpetuum mobile, allowed the strings to shine too, and that they did. It is worth noting that, while we hear this work as convention, Carl Maria von Weber decried its innovation: “…and to end all a furious finale, in which the only requisite is that there should be no ideas for the hearer to make out, but plenty of transitions from one key to another – on to the new note at once! never mind modulating – above all things, throw rules to the winds, for they only hamper a genius.”
Between these two very nice pieces, Shostakovich’s Concerto was sublime. The opening seed of the movement, a spry four pitches in solo cello (related to his personal four-note motto and which appears in several other of his works) opens the piece with what seems to be sardonic verve. The motto unified the work’s movements in its reappearances even as it is subjected to an incredible range of thematic transformation. One could feel the orchestra hit their stride in this opening movement. When it came time for the giant cadenza (a movement unto itself) Bailey earned his pay. The lyrical moments ran just as intensely as the movement’s later technical fireworks. After several rounds of applause, Bailey came back out and gave us a beautiful encore of Gluck’s Dance of the Blessed Spirits.
Looking back at this concert, I think Maestro Guerrero was right in his programming. Such intensity in composition and musicianship from Bailey and the Shostakovich required the frame of Beethoven’s utopian optimism. I’m used to Beethoven being the center of gravity, but it seems that he serves well as its foil too. The Nashville Symphony classical series returns on May 2-4 with Beethoven’s Violin Concerto and Richard Strauss’ An Alpine Symphony.
The Color Purple Coming to TPAC
The Color Purple by Alice Walker won the Pulitzer Prize and was adapted into the 1985 hit, which starred Oprah Winfrey and featured Whoopie Goldberg’s breakthrough role. In 2005 the story was adapted into a Broadway musical with a score mixing gospel, blues, and jazz, which has won two Tony awards (and was adapted into a film last year).
Obviously, The Color Purple has lasting power: it tells the story of Celie, a young woman who endures years of abuse and hardship at the hands of the men in her life. Along the way, Celie forms close bonds with other women, including the vibrant and independent Shug Avery and the strong and fierce Sofia. Through the power of sisterhood and self-discovery, Celie finds her voice and breaks free from the chains of oppression. The Color Purple is a moving and inspiring story of hope and a celebration of life and the human spirit.
The Nashville Repertory Theatre will be performing the musical at TPAC’s Polk Theater April 5-14. For tickets and more information see The Color Purple — Nashville Repertory Theatre or The Color Purple | TPAC.
Annie at TPAC
Little Orphan Annie debuted as a comic strip in 1924: one hundred years ago.
It became a radio show (you may have seen Ralphie decode its secret message in the film A Christmas Story) and was made into several movies before being adapted into a Broadway musical in 1977. Many of us are familiar with the musical through one of its three film adaptations. I grew up watching the 1982 version, with Carol Burnett, Tim Curry, and Bernadette Peters. I haven’t seen the Emmy-winning 1999 made-for-television version, but I did unfortunately see the 2014 adaptation. Jamie Foxx and Quvenzhané Wallis did the best that could be done with the new script, but the film had overproduced music and as much personality as an Apple Store. Annie has been doing its North American tour, with different casts, off and on for the past ten years, and it came to TPAC the weekend before Easter.
Probably what has led to the long life of the character and specifically the musical is the balanced writing, which makes Annie’s character more Anne of Green Gables than an urban Pollyanna. The musical is simple, following a string of happy adventures: the young orphan Annie lives in a rough orphanage during the Great Depression. Miss Hannigan is a mean alcoholic in charge of the orphanage. Annie runs away and saves a dog from the pound, but is caught and returned to the orphanage just in time to be invited to stay for two weeks over Christmas at billionaire Oliver Warbucks’ mansion on Park Avenue. She delights in being taken care of by him and his kind staff, the first kind and nurturing adults she’s met. Warbucks realizes how his life has been missing love and decides he wants to adopt her, but she wants to find her real parents, and Warbucks tries to help her. There are scam artists in disguise, visits to radio shows and the White House.
My only complaint with the show is that it has the annoying trope of making historical personages appear just because they were alive at the time: after a visit to FDR and where she sings a reprise of “Tomorrow,” the new inspired Cabinet invents Keynesian economics and the New Deal. The plot is simple and pretty low stakes, with no attempts at being a tearjerker or feigning deep messages, making for a chill watch that’s good for families. The opening night crowd was full of families, some with rather small children, and they gave a positive energy to watching the show.
The music of Annie is great: lovely melodies, great beats, and fun corniness. My favorites are “It’s the Hard Knock Life,” “Maybe,” “You’re Never Fully Dressed Without a Smile,” and the hilariously grumpy “Little Girls.” The only annoying song is “N.Y.C.,” which is a slow and self-congratulatory ode to the city. “We’d Like to Thank You,” sung by homeless New Yorkers to Herbert Hoover, has a great matchup of adulating lyrics and mocking gestures. Most of the good songs are in the first act, but it doesn’t feel too unbalanced; except for “N.Y.C” none feel long, and with multiple reprises in the second act the good songs aren’t left behind.
The March 27 performance at TPAC was very enjoyable, despite some imbalance in the sound production, which was too loud for the hall, causing some unnecessary shrillness from the girls, and making some chorus lyrics difficult to understand. Technical sound issues aside, the music quality is great, especially the brass. The orchestration is colorful and varied (including a banjo and a sousaphone) and many of the songs are quite fast, but the orchestra nails it with ease.
The singing is excellent. Rainier Treviño has control and range, which is certainly called for since as the lead role, Annie’s songs are challenging and frequent. Christopher Swan downplayed his vocal ability as the gruff Oliver Warbucks, but his strong voice still managed to show artistry. My favorite performer of the night was Stefanie Londino, who plays Miss Hannigan. “Little Girls” is a funny song, but her fantastic voice is sincerely impressive. Her character is the main comedy element in the show, and she makes sure her every second counts. A small part of the musical that got a huge reaction was the presence of a dog, Seamus, to play the part of Sandy, Annie’s rescue. The entire audience made a huge “awww” sound when he appeared, and every interaction with him always got applause. Seamus is well-trained and handles the enthusiastic applause cheerfully.
The sets are clear and the costumes are good (although I was mildly disappointed to see that Annie has a simple straight-haired bob instead of crazy curls), making the drab squalor of the orphanage and the bright luxury of Warbucks contrast vibrantly. The chorography is slightly uneven; some scenes, like the opening “It’s The Hard Knock Life,” have exciting energy, the girls using cleaning props as they dance with each other. During “I Think I’m Gonna Like it Here,” it feels like the ensemble isn’t used to its full potential; for an ensemble number there wasn’t much going on. The staging of the radio show, with the sound effects, the bustle, and the comical tap dance bit is very enjoyable.
Annie is a classic Broadway show that (unlike many shows) is actually fun for the whole family. With iconic music and a fun, cheerful plot despite its Great Depression setting, it is a good watch in politically fraught times.
Although their run at TPAC is over, Annie will continue on tour through May. For more information, see Tour Dates – Annie.
esta mes:
Nashville Sonido Latino: Julio 2024
(English Version Here)
GIOVANNI RODRÍGUEZ & 12 MANOS 
Rudy’s Jazz Room
Todos los lunes
9:00 PM
Entradas $19.44+
Redes sociales: Instagram
Cada lunes del mes en Rudy’s Jazz Room al caer la noche se despierta el sol caribeño con el repique de las congas. Giovanni Rodríguez, un artista integral de sangre dominicana y radicado en Nashville, es el director de este proyecto que cuenta también con destacados músicos en la escena musical de la ciudad. Para este evento, el recinto dispone de una pista de baile para vibrar con los ritmos coloridos de la salsa, la bachata y el jazz latino.
LIRAN ROLL, INTERPUESTO, VÍCTIMAS DEL DR CEREBRO 
Ibiza Lounge
Miércoles 3 de julio
Apertura de puertas 8:00 PM
Entradas $60+
Estas tres bandas mexicanas se unen para ofrecer una noche inolvidable al estilo de los 90s. Metal, rock urbano, blues y ska, son tan solo algunas de las influencias de estas tres agrupaciones que han dedicado su carrera a preservar el estilo auténtico latino del rock. Otro de los grandes atractivos de estas bandas, es su esencia cultural mexicana; sus letras reflejan credos y tradiciones, así como las experiencias cotidianas en su país.
GRAN EVENTO CHAPIN
Toro Event Center
Jueves 4 de julio
Apertura de puertas 8:00 PM
Preventa $25
Al son de los ritmos tradicionales de Guatemala con las orquesta de marimba Maderas del Volcán, y Cubulco musical deleitarán al público con una noche de cumbia, marimba y baile. El sonido versátil de estas dos agrupaciones está en su mezcla de folklor y arreglos contemporáneos. El público de cualquier nacionalidad podrá disfrutar de una alegre celebración que combina los timbres del caribe con la profundidad de los teclados amaderados.
FIESTA DE TACOS 
Plaza Mariachi
Sábado 6 de julio
11:00 AM – 9:00 PM
Entrada libre
¡Estos sí son auténticos tacos! Un festival que reunirá los mejores sabores de la gastronomía mexicana acompañados de un buen mariachi. Este evento contará con diez restaurantes locales, que ofrecerán una inigualable variedad de platillos donde el protagonista será esta sabrosa tortilla de maíz.
FESTIVAL FRIDA
Plaza Mariachi
Sábado 6 de julio
12:00 PM – 6:00 PM
Entrada libre
Qué mejor que interactuar con la impresionante obra de la artista mexicana Frida Kahlo, que con un festival que exalte su legado. Este evento tiene preparadas actividades de imitación de su estilo para niños y adultos, concursos, desfiles de modas, manualidades, música en vivo y ¡mucho más!
BLUE ASHES DUO 
Plaza Mariachi
Sábado 6 de julio
4:30 PM – 5:15 PM
Entrada libre
Este dueto originario de Colombia y Dinamarca, posee un estilo vanguardista en el que se fusionan los ritmos del hard rock y del rockabilly. El guitarrista Alex Zúñiga y la vocalista Shila Mariposa, impregnan su característico estilo en versiones clásicas del rock, pero también en sus composiciones que pueden apreciarse en su producción Checkmate.
GAPRI MUSIC
Plaza Mariachi
Sábado 6 de julio
5:30 PM – 7:00 PM
Entrada libre
En el corazón de Caracas, Venezuela, nació Gapri Music, un artista apasionado por el ritmo que fluía por la tierra que acogió a su familia colombiana. Desde pequeño, se vio envuelto en las tropicales melodías, heredando una pasión por la música a la que se ha dedicado durante toda su vida. El recorrido artístico que inició en Táchira, ha tomado rutas hacia Colombia, México y ahora Estados llevando un poco de la cultura venezolana a su población emigrante.
THE KRAZY HOUR 
Plaza Mariachi
Sábado 6 y 13 de julio
7:30 PM – 8:00 PM
Entrada libre
En una boda o en unos “quince” no puede faltar “la hora loca”, ese momento donde el protocolo pasa a segundo plano, y todos los asistentes se congregan en un carnaval de música y jolgorio. The Krazy Hour es un proyecto que eleva el significado de esta tradición a otro nivel, brindando una experiencia de diversión sin precedentes.
NASHVILLE LATIN FUSION
Plaza Mariachi
Sábado 6 de julio
8:30 PM – 10:00 PM
Entrada libre
Este proyecto del pianista cubano Melvin Macías, integra el estilo del jazz afrocubano con baladas y otros géneros latinoamericanos. La música de Nashville Latin Fusion refleja la experiencia y la versatilidad de la carrera musical de su fundador que no solo ha experimentado con las músicas de su región, sino incluso del mundo de los musicales.
LABERINTO, LA FIERA DE OJINAGA Y GRUPO LOS DE CHIWAS 
Plaza Mariachi
Viernes 12 de julio
9:00 PM – 2:00 AM
Entrada $70
La música regional mexicana representada en las reconocidas agrupaciones de Laberinto, La Fiera De Ojinaga y el Grupo Los De Chiwas, ofrecerán una alegre velada en el tradicional estilo de la música chihuahuense y el género norteño con saxo.
RUMBA VENEZOLANA
Diamante Night Club
Viernes 12 de julio
9:00 PM – 3:00 AM
Cover $30
Esta noche de fiesta será explosiva con una mezcla vibrante de salsa, merengue, reggaetón, electrónica, bachata y vallenato, a cargo de los DJ Caico, La Bestia Latina, y DJason Salsa. Además, Ruso Tambor y Punto presentará un espectáculo impresionante que destaca las raíces africanas en la cultura venezolana, con el tambor como protagonista principal.
GRUPO FOLKLÓRICO RAÍCES DE MI TIERRA 
Plaza Mariachi
Sábado 13 de julio
12:30 PM – 1:30 PM
Entrada libre
El Grupo Folklórico Raíces De Mi Tierra transporta a su audiencia a las tierras de Sinaloa hasta Chiapas, donde los coloridos trajes regionales se mueven con gracia. Esta agrupación ha reunido a bailarines expertos con sus danzas autóctonas en una ciudad donde la música mexicana está ganando cada vez más reconocimiento internacional.
DURANGO FEST EN NASHVILLE TN
Plaza Mariachi
Viernes 19 de julio
9:00 PM
Entradas $60+
Un evento imprescindible para los fanáticos del duranguense; contará con un espectacular line up con reconocidos representantes del género, incluyendo a Montéz de Durango, Los Príncipes, Alacranes Musical, K-Paz de la Sierra, Patrulla 81 y Conjunto Atardecer. Será una noche inolvidable con los más grandes éxitos duranguenses.
RITMO SABROSO 
Plaza Mariachi
Sábado 20 de julio
7:00 PM – 8:30 PM
Entrada Libre
Como su nombre lo dice, Ritmo Sabroso es una orquesta que inevitablemente pone al público de pie para unirse con sus pasos al ritmo de la salsa, el merengue y la cumbia. Estos géneros sin lugar a dudas han impregnado por generaciones las fiestas en el continente latinoamericano y la escena musical al otro lado del Atlántico. En esta agrupación se congregan músicos con una amplia experiencia originarios de Venezuela, Colombia, Puerto Rico y Estados Unidos, países representativos en la riqueza sonora y cultural de estos géneros. Para quienes estén buscando disfrutar de una noche tropical este fin de semana, ¡este es un evento que no se pueden perder!
Redes Sociales: Facebook Youtube
AGARRÓN DE JINETE JARIPEO 
Plaza Mariachi
Domingo 28 de julio
3:00 PM – 10:00 PM
Entradas $50+
Este evento sin duda traerá mucha diversión. Los asistentes disfrutarán de un espectacular enfrentamiento de jinetes con toros de pura bravura del Rancho El Semental. En este duelo épico se enfrentarán El Equipo del Aventurero y el Equipo de Tasajito; La música estará a cargo de Impala Norte y el Tamborazo del Pueblo, para añadir ritmo y sabor a la tarde.
esta mes:
Nashville Sonido Latino: Septiembre 2024
(English Version Here)
GIOVANNI RODRÍGUEZ & 12 MANOS
Rudy’s Jazz Room
Todos los lunes
9:00 PM
Entradas $19.44+
Redes sociales: Instagram
Cada lunes del mes en Rudy’s Jazz Room al caer la noche se despierta el sol caribeño con el repique de las congas. Giovanni Rodríguez, un artista integral de sangre dominicana y radicado en Nashville, es el director de este proyecto que cuenta también con destacados músicos en la escena musical de la ciudad. Para este evento, el recinto dispone de una pista de baile para vibrar con los ritmos coloridos de la salsa, la bachata y el jazz latino.
TUMBAYÉ
Plaza Mariachi
Lunes 2 de septiembre
7:30 – 9:00 PM
Sábado 14 de septiembre
5:30 – 7:00 PM
Entrada libre
Redes Sociales: Instagram
Salsa, merengue, bachata, son algunos de los ritmos que podrán disfrutarse con esta estupenda agrupación llena de sabor. La voz de Tatiana Liary (Puerto Rico) conocida por su estilo de salsa urbana y el inconfundible retumbar de la percusión de Manuel Manotas (Venezuela), son la combinación explosiva para disfrutar la música bailable en todo el sentido de la palabra.
MARROCKO 
Plaza Mariachi
Viernes 6 de septiembre
7:00 – 8:00 PM
Sábado 28 de septiembre
5:30 – 7:00 PM
Entrada libre
Redes sociales: Youtube Instagram Facebook
Este dueto originario de la ciudad de Cali (Colombia) posee un estilo vanguardista en el que se fusionan el pop y el rock latino con los matices del folk indie. El guitarrista y productor Alex Zúñiga y el vocalista Guile Gadel reflejan en sus composiciones la frescura característica del rock en español y su lírica contemporánea. Dentro de sus producciones la banda cuenta con un álbum titulado “Mar de Rock” en el que sus canciones se alternan entre letras románticas y de introspección. La propuesta de Marrocko ha cautivado al público de la ciudad con presentaciones en el Nashville Shores Waterpark Latino Fest 2023 y el entretiempo del equipo local Nashville SC con un solo de guitarra que impregnó de energía a las barras presentes.
BRAZIL INDEPENDENCE DAY CELEBRATION
Plaza Mariachi
Sábado 7 de septiembre
12:00 – 8:00 PM
Entrada libre
La celebración del día de la Independencia de Brasil será todo un carnaval de experiencias únicas. En el festejo estarán presente el mercado brasileño con una maravillosa oferta de gastronomía autóctona y artesanías. Thea Danos y Alex Murphy, Will Barro Trio, Paulo Oliveira, Samba Fusion, Alfredinho & Kids Characters, serán los encargados de hacer brillar la música y la danza del país en este espectacular evento.
ESLABÓN ARMADO
Toro Event Center
Sábado 7 de septiembre
8:00 PM
Entradas $60+
Esta agrupación mexicano-estadounidense especializada en música regional mexicana, comenzó hace siete años cuando los hermanos Tovar junto con Gabriel Hidalgo se interesaron por estudiar y perfeccionar la música sierreña y norteña. El trío difundió su proyecto en redes sociales como Youtube y Tik Tok, logrando firmar en 2020 con la compañía DEL Records para comenzar a lanzar sus exitosos sencillos “Con Tus Besos” y “La Trokita.”
RITMO SABROSO
Plaza Mariachi
Sábado 7 de septiembre
8:30 – 10:00 PM
Entrada Libre
Como su nombre lo dice, Ritmo Sabroso es una orquesta que inevitablemente pone al público de pie para unirse con sus pasos al ritmo de la salsa, el merengue y la cumbia. Estos géneros sin lugar a dudas han impregnado por generaciones las fiestas en el continente latinoamericano y la escena musical al otro lado del Atlántico. En esta agrupación se congregan músicos con una amplia experiencia originarios de Venezuela, Colombia, Puerto Rico y Estados Unidos, países representativos en la riqueza sonora y cultural de estos géneros. Para quienes estén buscando disfrutar de una noche tropical este fin de semana, ¡este es un evento que no se pueden perder!
Redes Sociales: Facebook Youtube
FIESTAS PATRIAS
Plaza Mariachi
Domingo 15 de septiembre
10:00 AM – 11:00 PM
Entrada $15
Continúan las celebraciones de Independencia; en esta ocasión siendo México el anfitrión, Guatemala, El Salvador, Honduras, Nicaragua y Costa Rica, se unirán a esta conmemoración en una fiesta sin precedentes. Se dispondrán tres escenarios para los espectáculos musicales, se realizará la Conmemoración del Grito, y diferentes negocios locales estarán presentes para ofrecer una exquisita paleta de sabores mexicanos y centroamericanos.
ALISON BRAZIL AND THE ROOTS OF RHYTHM
Looby Center Theater
Jueves 17 de septiembre
1:00 – 2:00 PM
Entrada libre
Originaria de Luisiana, Alison Brazil ha logrado congregar públicos internacionales tanto en Sur América como en Asia, gracias a su estilo único de soul latino de Luisiana y a su voz profunda. Su música es una combinación de influencias culturales y de sus experiencias alrededor del mundo. En esta oportunidad estará presente en la Serie de Conciertos Seniors Frank Dycus Legacy, promovido por United Health Care y el Tennessee Arts Comission.
KARINA DAZA 
Geodis Park
Miércoles 18 de septiembre
6:00 PM
Entradas $26.55+
La cantante neoyorquina de raíces colombianas Karina Daza, ha emprendido un extraordinario viaje musical a partir del momento en que eligió su rumbo entre las sonoridades del jazz, el pop, la música latina, el folk y la música clásica. Sus letras en inglés y en español, reflejan una riqueza excepcional de experiencias desde su cálida infancia y la conquista de nuevos territorios en EEUU y fuera del país. En esta oportunidad Karina es la encargada de abrir con su espectáculo musical el encuentro deportivo entre Nashville SC vs. Chicago Fire FC.
DOS PRIMOS DE CUIDADO
Plaza Mariachi
Viernes 20 de septiembre
8:00 PM
Entradas $80+
El Flaco y El Mimoso, se enfrentarán en duelo de música regional que promete ser un espectáculo emocionante y divertido. Luis Ángel y Luis Antonio López han construido sus sólidas carreras artísticas gracias a su auténtico estilo en la música de banda. Canciones como “El Que Te Amó”, “Hasta La Miel Amarga” y “En Esta Vida No Se Pudo” han catapultado su colosal éxito en el público mexicano y estadounidense.
BLUE ASHES DUO 
Plaza Mariachi
Sábado 21 de septiembre
4:30 PM – 5:15 PM
Entrada libre
Este dueto originario de Colombia y Dinamarca, posee un estilo vanguardista en el que se fusionan los ritmos del hard rock y del rockabilly. El guitarrista Alex Zúñiga y la vocalista Shila Mariposa, impregnan su característico estilo en versiones clásicas del rock, pero también en sus composiciones que pueden apreciarse en su producción “Checkmate.”
TWANGUERO
Analog at Hutton Hotel
Miércoles 25 de septiembre
6:30 – 11:30 PM
Entradas $19.02+
Diego García “Twanguero”, es un destacado guitarrista español que dado a su versatilidad musical y su maestría en la interpretación, ha cautivado audiencias en todo el mundo. Su estilo se mece entre las sonoridades de la guitarra clásica española, los ritmos latinos, el country, el rockabilly, el jazz e incluso la música de surf. Diego ha tenido la oportunidad de acompañar a reconocidos artistas de la escena latinoamericana y de España durante las últimas tres décadas.
STEPHANIE URBINA JONES 
Grand Ole Opry House
Viernes 27 de septiembre
7:00 PM
Entradas $53+
Stephanie ha emprendido un viaje al pasado para recoger la historia de sus raíces mexicanas y hacerle un homenaje desde su original estilo como lo es el “Honky Tonk Mariachi.” Nacida en El Paso TX, y ahora radicada en Nashville, Stephanie ha tenido la oportunidad de compartir escena con artistas como Willie Nelson, y de ser la primera artista de presentarse en el Gran Ole Opry acompañada de mariachi.
LOS TIGRES DEL NORTE 
Bridgestone Arena
Viernes 27 de septiembre
8:30 PM
Entradas $76.48+
La reconocida banda de música regional mexicana y que ha creado una nueva lírica de denuncia llamada “narcocorrido,” hará su siguiente parada del tour en la Ciudad de la Música. Su excepcional carrera artística le ha merecido seis premios Grammy y doce premios Grammy Latino, además de congregar los públicos de cinco continentes y participar en el cine con la producción de más de 40 películas. Con 30 millones de copias vendidas, Los Tigres del Norte se ha posicionado como un referente internacional de la riqueza de la música insignia del Norte de México.
ROLAND BARBER: CELEBRATING THE SPANISH TINGE!
Nashville Jazz Workshop
Sábado 28 de septiembre
7:30 PM
Entrada $38.16
El estilo del trombonista nativo de Nashville Roland Barber, ha cautivado la escena del jazz por sus exquisitas combinaciones de ritmos sudamericanos y caribeños. Para Roland es fundamental trascender en las posibilidades del jazz de dejarse colorear con la riqueza de las sonoridades tropicales y de los ritmos que gritan hispanidad. Su exitosa carrera artística le ha permitido compartir escenario con Wynton Marsalis y hacer parte de las orquesta de Duke Ellington, de Arturo O’Farill y de la Spanish Harlem Orchestra.
CAMILA MEZA 
Ascend Amphitheater
Lunes 30 de septiembre
8:00 PM
Entradas $54.35+
Camila Meza, cantante y guitarrista chilena, ha conquistado la escena del jazz en New York con su propuesta musical que combina los ritmos sudamericanos con la canción popular estadounidense. Su inigualable talento le ha permitido realizar conciertos en los reconocidos escenarios para la música jazz como The Village Vanguard, Jazz Standard y Duc de Lombards (París). Su extensa gira por los Estados Unidos hará una parada en Nashville para compartir escenario junto con la cantante árabe Arooj Aftab.
The Jazz Beat: September 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. A lot of great stuff happening outside the regular venues this month, so if you see one you like, make sure to get your tickets!
Alonzo Demetrius – Sunday, September 1 – 7:00 PM (Ryman Auditorium)
Though only twenty-eight years old, Alonzo Demetrius is already an acclaimed trumpeter, composer, vocalist, and composer. He is the founder of The Ego, a band which spans the range of genres, mixing jazz, gospel, R&B, rock, hip-hop, and more.
The Jay Patten Band – Wednesday, September 4 – 9:00 PM (Bluebird Cafe)
Saxophonist, vocalist, and multi-instrumentalist Jay Patten performs with his band at the world-famous Bluebird Cafe. Though he now calls Nashville home, Patten has had a long successful career in Los Angeles as well as Music City, performing on recordings for artists like Johnny Cash, Bill Anderson, and many more. Patten was actually the very first artist to perform at the Bluebird, landing him a spotlight in the documentary film about the venue, and still hosts the anniversary parties to this day.
Ghost-Note – Wednesday, September 4 – 8:00 PM (Exit/In)
Headed by Snarky Puppy’s multi-Grammy-winning percussion duo and consisting of a rotating cast of all-star musicians, Ghost-Note is a progressive band pushing the boundaries of funk music, building on the foundations of legends like James Brown and Sly & the Family Stone. Both of the band’s albums have received critical success.
Dopapod – Friday, September 6 – 8:00 PM (Cannery Hall)
Highly acclaimed fusion band Dopapod comes to Cannery Hall. Breaking out in 2009 with their album “Radar,” the band have since received critical acclaim from Rolling Stone, Guitar World, Glide Magazine, and more. Having sold-out shows coast-to-coast, this should be an incredible performance.
Julian Lage – Saturday, September 7 – 8:00 PM (CMA Theater)
Superstar contemporary jazz guitarist Julian Lage comes to Nashville at the CMA Theater. A personal guitar hero of mine, Lage practically needs no introduction to those paying attention to the modern jazz scene. His latest album, “Speak to Me,” was released in March of this year, and effortless blends jazz, gospel hymn and rural blues, and singer-songwriter styles into a phenomenal performance.
Robby Krieger of the Doors – Monday, September 9 – 7:30 PM ($75+) (City Winery)
Robby Krieger, guitarist of the legendary band The Doors, makes an appearance at the Winery’s Main Stage. While certainly not strictly Jazz, Krieger’s playing is so rooted in the blues that I felt it was definitely something that would interest any jazz listener.
L.C. Franke – Saturday, September 14 – 7:00 PM (The Blue Room)
L.C. Franke is a jazz singer who offers a smooth callback to the golden days of Sinatra, Scott Walker, and Ella Fitzgerald. For those more interested in the sounds of classic jazz crooners, this should be one to watch.
Cam Gallagher & the Tasty Soul – Thursday, September 19 – 7:30 PM (The East Room)
A funk collective from right here in Music City, Cam Gallagher & the Tasty Soul was founded in 2021 by band leader and tenor saxophonist Cameron Gallagher. Though the members of the band are all young, they have all more than proven their chops.
Rudy Love & the Encore – Thursday, September 19 – 8:00 PM (The East Room)
Though officially formed early last year, the members of Rudy Love & the Encore have played music together for most of their lives. Presenting feel-good music that blends funk and R&B, the band is sure to create a memorable performance.
Gaby Moreno – Thursday, September 19 – 9:00 PM (Row One Stage at Cannery Hall – Part of AMERICANAFEST)
Guatemalan singer-songwriter and guitarist Gaby Moreno will perform as part of this year’s AMERICANAFEST. Though Moreno’s music is not strictly jazz, I think her vocal style certainly calls to the styles of many Latin jazz singers of the past.
Adam Larson’s “Hybrid” (2 performances) – Saturday, September 21 – 5:30 PM ($18) & 8:00 PM ($23) (Rudy’s)
Saxophonist Adam Larson’s album trilogy spanned two years and three cities. This project inspired him to assemble a sax-bass-drums jazz trio which represents all three cities. Join him as he leads this trio with John Kizilarmut on drums and Sebastian Arias on bass to present his original music. They will perform two back-to-back sets, taking both the 5:30 and 8:00 slots.
Adam Miller – Tuesday, September 24 – 7:00 PM ($10+) (The Underdog)
Acclaimed Australian guitarist and composer Adam Miller comes to Music City. Miller has been praised in publications like Jazz Guitar Today, Premier Guitar Magazine, Guitar Player Magazine, and many more for his incredible chops. Miller’s music has been compared to Charlie Hunter, Tuck Andress, Julian Lage, and Tommy Emmanuel.
The Oz Noy Trio – Thursday, September 26 – 7:30 PM (3rd and Lindsley)
Virtuoso guitarist Oz Noy brings his trio to Music City. Noy is widely considered one of the top guitarists in the industry today, and presents an enchanting blend of jazz, funk, rock, and blues. He has performed, recorded, or toured with countless of the industry’s top names, including Bill Evans, Chris Potter, Matisyahu, Lizzo, and many, many others. For any fusion fan, this concert should not be missed.
Swing Dance Night – Friday, September 27 – 8:00 PM (Dive Motel)
Nashville’s Dive Motel holds its monthly Swing Dance Night starting at 8 and stretching to afterhours, until midnight, featuring live swing music and accompanied by the Motel’s bar and infamous retro vibes.
Jazz on the Cumberland w/ the Dee Jones Quartet – Sunday, September 29 – 5:30 PM (Free)
The Jazz on the Cumberland series continues with the Dee Jones Quartet.
Julius Rodriguez Presents Evergreen – Monday, September 30 – 6:00 PM ($15) (Rudy’s)
Rodriguez is an acclaimed multi-instrumentalist, composer, and producer who, at just twenty-five years of age, has already established himself as a highly sought-after collaborator, working with everyone from Wynton Marsalis to A$AP Rocky. Rodriguez now presents an evening of music celebrating his newest release EVERGREEN.
Arooj Aftab – Monday, September 30 – 8:00 PM (Ascend Amphitheater)
Pakistani-American artist Arooj Aftab creates music that transcends genre, effortlessly weaving itself between jazz, pop, blues, and South Asian classical music. Her 2023 album Love in Exile was nominated for a Grammy, and her most recent album Night Reign also received critical acclaim.
Analog at Hutton Hotel.
Analog Soul ft. Will Davenport, Ryan Prewett & Friends, and Jon “DJ Smoke” Lucas – Sunday, September 1 – 6:00 PM (Free GA / $20 reserved seating)
The Analog continues its Analog Soul series, hosted by Will Davenport, for a night of great soul music. This time guests include Ryan Prewett, Jon “DJ Smoke” Lucas, and others.
Super Felon – Tuesday, September 3 – 7:00 PM ($20 GA / $35 reserved seating)
A night of soul and funk music with Patrick Sweany, Ted Pecchio, Ray Jacildo, Chris Condon, and Lynn Williams.
Emmaline – Thursday, September 5 – 7:00 PM ($20 GA / $25 GA day-of / $30 reserved)
Nashville native Emmaline, at the age of only twenty-six, has opened for Chaka Khan, been named Best Vocal Jazz of 2023 on Spotify, and starred in the movie Sweetwater, on the soundtrack for which she sings a duet with Grammy-winning blues artist Gary Clark, Jr. Though she is young and an independent artist, she has indisputably grabbed the attention of the industry at large.
The Sound Exchange ft. Rob Cureton – Friday, September 6 – 7:00 PM
Highly in-demand bassist and band leader Rob Cureton brings his band of all-star musicians to the Analog for what he calls Tuesday Night Sound Therapy. Cureton is known for his work in the house band of the CMT Awards, the TV show Nashville, and numerous touring artists.
Analog Soul ft. Will Davenport and The South – Sunday, September 22 – 6:00 PM
Another round of Analog Soul for you, this time featuring The South. .
Arrington Vineyards
Music in the Vines Series – Every Saturday (3:00-7:00 PM) & Sunday (1:00-5:00 PM)
Arrington Vineyards features concerts of Jazz and Bluegrass every Saturday and Sunday. Jazz acts this month include The Lilliston Effect Band, 9 Volt Romeo, the San Rafael Band, The Reed Pittman Band, Andrew Carney and the Essentials, and more. Miles Damaso will also return to Music in the Vines this month. All jazz events take place on the Hillside Stage. There will also be live jazz on Fridays (4:30-8:30 PM) for Arrington’s Food Truck Fridays! All jazz concerts take place on Arrington’s Hillside Stage.
City Winery Nashville
Nashville’s City Winery is a beautiful venue that consistently features top-talent acts that span genres from Jazz to Americana to Hip Hop. The below performances showcase a mix of several genres, but will certainly be of interest to any jazz audience. Enjoy these concerts accompanied by a stellar selection of wine and delicious bites.
Main Stage
Robby Krieger of the Doors – detailed above
The Ton3s AKA The Hamiltones – Sunday, September 22 – 7:30 PM ($35+)
This vocal trio are the official backing singers for acclaimed vocalist Anthony Hamilton. They emerged as their own group in 2016, drawing upon a deep catalog of influences like the Temptations, Stevie Wonder, Al Green, Kirk Franklin, and many more. The group is known for its unique blend of gospel, hip-hop, and R&B.
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
Monica Shriver Album Release – Friday, September 13 – 7:30 PM ($35)
Saxophonist, composer, and visual artist Monica Shriver gives a special performance at the Cave to celebrate the release of her new album, “Unfolding,” released in April of this year. Leading a quartet featuring Matt Endahl (keys), Alec Newnam (bass), and Tim Buell (drums), Shriver guides the group through a performance of original compositions, arrangements of jazz standards, and spontaneous improvisations. Shriver’s first album, “Acceptance,” was nominated by the National Industry of Music as 2024’s Best Jazz Album.
Thea Danos: From Brazil to Buchanan Street – Saturday, September 14 – 7:30 PM ($35)
Popular Nashville vocalist Thea Danos is known for her deep connection to the jazz music of South America, most especially Brazil. In this special performance, Danos guides the audience through a unique set of selections which span both time and space, featuring tunes from decades past and from all over the world.
Charles “Wigg” Walker – Friday, September 27 – 7:30 PM ($35)
One of the few remaining original soul singers from when this music was fresh on the music scene, Charles “Wigg” Walker has enjoyed a celebrated career spanning more than six decades. Born right here in Nashville, Walker cut his first record in 1959 for Ted Jarret’s legendary label Champion. Since then, Walker has toured with some of music’s most legendary names, including James Brown, Etta James, Otis Redding, and Sam Cooke, just to name a few.
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.
Crystal & Friends – Sunday, September 1 – 6:00 PM ($15)
Crystal Miller returns to the Rudy’s stage with her unique blend of influences from pop and rock to R&B and jazz.
Trio T.B.E. – Monday, September 2 – 6:00 PM ($12)
This group is the combination of three independently established Nashville musicians, Matt Endahl (piano), Chris Broomhead (drums), and Scott Trayer (bass), presenting their take on the classic piano trio lineup. Each member has his own long career, bringing together each of their influences to produce a sound that is both classic and new.
Mr. Groove “Meadow Park” and More – Wednesday, September 4 – 6:00 PM ($20)
Quintet Mr. Groove returns to Rudy’s, performing music from their latest project Meadow Park, as well as many old favorites. The all-star band features Keith Carlock on drums, Pat Coil on piano, Time Gordon on sax, Roddy Smith on guitar, and Tim Smith on bass.
MILEStones: Tribute to Miles Davis – Wednesday, September 4 – 9:00 PM ($15)
The Miles Davis tribute ensemble returns to the Rudy’s stage. This quintet focuses on music from the “great quintets” that Miles led in the 50’s and 60’s.
“The Bill Evans Album” with the Bruce Dudley Trio – Thursday, September 5 – 9:00 PM ($15)
Acclaimed Nashville pianist Bruce Dudley performs with his trio, featuring Jim Ferguson on bass and Josh Hunt on drums. The trio offers a special performance, specifically presenting music from Bill Evans’ 1970 Columbia recording “The Bill Evans Album,” along with a select few other Evans classics.
Ladies of Jazz – Friday, September 6 – 5:30 PM ($18)
Nashville-based jazz vocalist and flautist Wendy Burns heads up this much-talked-about concert series, featuring some of Nashville’s best female vocalists and backed by some of the city’s best musical talent. This concert will feature Mimi Clay and Abigail Flowers as the other vocalists, all of whom are acclaimed and seasoned performers.
Pascal Le Boeuf’s “Ritual Being” – Friday, September 6 – 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 – Friday, September 6 – 11:00 PM ($10)
Aaron Lessard is a Nashville-based jazz and fusion guitarist whose mix of original music and covers showcases his influences, from Metheny and Stern to Scofield and Ford. He is backed up by Brook Sutton on bass and Nioshi Jackson on drums.
Margherita Fava Quartet – Saturday, September 7 – 8:00 PM ($21)
Italian native Margherita Fava is an acclaimed young pianist, composer, and bandleader. Born to parents who are both baroque specialists, music is practically in Fava’s blood. She has released two recordings of original music, an EP in 2022 and an album in 2023, which receive a 4-star review in DownBeat Magazine She now leads her quartet, featuring David Williford on sax, Rob Linton on bass, and Kirk Woodard on drums.
Matt Endahl Quartet – Saturday, September 7 – 11:00 PM ($10)
Matt Endahl is a well-known Nashville pianist, performing with a number of groups as well as teaching at universities. One of the most in-demand pianists in the region, he now presents his own quartet for an evening of classic jazz music. The quartet features Jonathan Wires on bass, John Westberry on drums, and Jayve Montgomery on saxophone.
Glenn Wilson / Rory Stuart Quartet – Monday, September 9 – 6:00 PM ($12)
Led by “one of the greatest living jazz guitarists” (Stuart) and “an unsung hero in modern jazz” (Wilson), this quartet features the unique combination of guitar and baritone sax. Celebrating the 32nd anniversary of the release of their acclaimed release Bittersweet, this quartet will also feature Nashville regulars Jacob Jezioro (bass) and Joshua Hunt (drums).
Marc Payne’s “Soul Food” Quartet – A Link from Tradition to Today – Wednesday, September 11 – 9:00 PM ($15)
Prominent Nashville pianist Marc Payne leads a quartet linking classic jazz to its modern evolution, presenting classic jazz tunes alongside a fusion of hip-hop and funk music.
Yayennings Quintet – Friday, September 13 – 8:00 PM ($25)
Yayennings is a four-time Grammy-winning artist, most known for his work with jazz fusion supergroup Snarky Puppy. He has backed up legendary artists like Aretha Franklin, David Crosby, David Bowie, and many more. He now leads his own quintet featuring some of Nashville’s top-tier talent, Jeff Coffin (sax), David Cook (piano), Jacob Jezioro (bass), and Jordan Perlson (drums).
Shaun Munday – Saturday, September 14 – 5:30 PM ($12)
Bassist Shaun Munday returns to the Rudy’s stage with his full band. Munday has studied and performed with some of the industry’s greats, including John Mayer, Esperanza Spalding, and Antonio Sanchez, among others.
David Cook Quintet – Saturday, September 14 – 8:00 PM ($25)
Speaking of David Cook, he will also have an outing as bandleader this month, with nearly an identical group, only with Emmanuel Echem on trumpet. Based in NYC, Cook is currently the music director for Taylor Swift as well as several other high-profile artists.
Chris Mondak Quartet – Saturday, September 14 – 11:00 PM ($10)
Nashville-based bassist, composer, and educator Chris Mondak returns to the Rudy’s stage with his quartet.
Viktor Krauss – Monday, September 16 – 6:00 PM ($10)
Viktor Krauss is a bassist that has called Nashville home since 1992, and has over 600 credits to his name as either bassist, composer, or producer.
Joseph Wooten Benefit for Homeless Veterans – Thursday, September 19 – 9:00 PM ($25)
Joseph Wooten of the Wooten Brothers and the Steve Miller Band, offers a night of soul, funk, and jazz music, raising money for organizations supporting homeless veterans.
Bruce Dudley Quartet – Friday, September 20 – 8:00 PM ($21)
Bruce Dudley is a Steinway Concert Artist who has over 40 years of experience performing jazz all throughout North and South America. He has recorded a number of albums as bandleader, as well as performed with big industry names like Aretha Franklin, Herb Ellis, and Crystal Gale. This quartet will feature Larry Aberman on drums, Rob Linton on bass, and Miguel Alvarado on saxophone.
Adam Larson’s “Hybrid” (2 performances) – detailed above
Marc Payne Quartet – Saturday, September 21 – 11:00 PM ($10)
One of Nashville’s most talented up-and-coming pianists Marc Payne will lead his trio. Payne has been praised for his diversity and wide knowledge of many jazz styles. He has spent his life in Nashville soaking up many different sounds and styles, and this diversity comes through in his masterful playing.
The MF Art of Listening – Wednesday, September 25 – 6:00 PM ($20)
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.
Rebecca Carlson – Thursday, September 26 – 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.
Sarah Jane Nelson – Friday, September 27 – 5:30 PM ($20)
Vocalist Sarah Jane Nelson combines influences from country, jazz, blues, and musical theater for a unique voice that has earned her descriptions as a “knock-‘em dead singer,” “sultry jazz goddess,” and “a first rate singer”.
Muneer Nasser Quintet – Friday, September 27 – 8:00 PM ($23)
Muneer Nasser is an eclectic trumpeter who brings together the sounds of the Memphis blues, New York jazz, and DC ingenuity. While in DC, Nasser performed at esteemed venues like the Lincoln Theater and Bohemian Caverns, and after leaving his music took him all over the world. This group will feature Alex Murphy (piano), Jack Ayler (bass), and Chester Thompson (drums).
Julius Rodriguez Presents Evergreen – detailed above
Rudy’s Regulars
Jody Nardone Trio (2 performances) – Saturdays, September 7 – 5:30 PM ($17) & September 28 – 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)
Pat Coil (2 performances) – Sunday, September 8 – 6:00 PM ($$20) & Friday, September 20 – 5:30 PM ($14)
Renowned Nashville pianist Pat Coil will perform twice this month, both times in quartet format but with different lineups each time. The first performance will feature the legendary Jeff Coffin on sax, Brian Allen on bass, and Jordan Perlson on drums. The second performance will feature Danny Gottlieb on drums, Jim Ferguson on bass, and Dan Hitchcock on sax.
PT Gazell & the Side Effects – Wednesday, September 11 – 6:00 PM ($10)
PT Gazell is a renowned harmonica player, with two Grammy-nominated albums to his name. He believes the harmonica is capable of so much more than most people realize, and continues to prove it by expanding the musical boundaries of the instrument.
Don Aliquo (multiple performances)
One of Nashville’s most active and accomplished saxophonists, Aliquo will be performing three times this month, twice in quartet format and once in trio. The second of the quartet performances will feature Bruce Dudley on piano. Don Aliquo Quartet – Friday, September 13 ($14) – 5:30 PM & Saturday, September 28 – 5:30 PM ($16) Don Aliquo Trio – Friday, September 27 – 11:00 PM ($10)
Cliff Richmond & the CliffNotes – Thursday, September 12 – 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 (2 performances) – Friday, September 13 & Saturday, September 28 – 11:00 PM ($10)
Playing a mix of Wayne Shorter tunes and originals, Geoff Pfeifer brings gritty, edgy, genuine NYC-style jazz to Rudy’s stage with his Quartet.
Dana Robbins Quintet – Sunday, September 15 – 6:00 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).
Bizz Bigsby – Wednesday, September 18 – 6:00 PM ($15)
Nashville native Bizz Bigsby shares his very personal music which tells the story of his life, influenced by everyone from Bill Withers to George Jones to James Taylor.
Regi Wooten & Friends – Wednesdays, September 18 & 25 – 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.
Jonathan Wires Quartet – Friday, September 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.
Sully’s Swingin’ Sunday Supper – Sunday, September 22 – 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.
Re-Evolution – Monday, September 23 – 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 – Sunday, September 29 – 6:00 PM ($15)
Another frequent visitor to the Rudy’s stage, award-winning vocalist, songwriter and vocal coach Stephanie Adlington is known as the “Siren of the South,” with an “unrivaled” take on the Great American Songbook.
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 (except Sep 26) – 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 (except September 4) – 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!
Stephanie Adlington (2 performances) – Sundays, September 1 & 8 – 6:00 PM
Detailed in the Rudy’s section above, Adlington is a jazz vocal mainstay in Nashville.
Amanda Raye – Thursday, September 5 – 6:00 PM & Sunday, September 29 – 6:00 PM
Though her music stands out as a blend of soul and country, singer Amanda Raye has been noted for her jazz influences.
Leif Shires – Saturday, September 14 – 7:00 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.
Sarah J – Thursday, September 19 – 6:00 PM
Known for an energetic personality and audience interactions, Sarah J’s music combines R&B, pop, and contemporary jazz.
Ben Graves – Saturday, September 21 – 7:00 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.
Patton James – Monday, September 30 – 6:00 PM
Guitarist and singer/songwriter Patton James presents his selection of original music and works from the American Songbook.
The Underdog Nashville
The Guthrie Trapp Trio – Mondays, September 2, 9 & 23 – 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.
Jimmie Infinity ft. The Electric Indigo – Tuesday, September 3 – 6:30 PM ($5)
Known for his one-man band style loop sessions, Cincinnati-based musician Jimmie Infinity is a talented multi-instrumentalist making music on his own, playing guitar, bass, keys, and more. He’ll be joined by Kentucky-based band The Electric Indigo, an original rock and jam-band.
The Jack Ruch Organ Trio – Every Thursday – 7:00 PM (Free)
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.
Adam Miller – Tuesday, September 24 – 7:00 PM ($10+)
Acclaimed Australian guitarist and composer Adam Miller comes to Music City. Miller has been praised in publications like Jazz Guitar Today, Premier Guitar Magazine, Guitar Player Magazine, and many more for his incredible chops. Miller’s music has been compared to Charlie Hunter, Tuck Andress, Julian Lage, and Tommy Emmanuel.
University Jazz
University life has started up again and with it come School of Music performances. I’ve listed the ones of interest below.
Vanderbilt – Blair School of Music
Blair Master Series: Molly Barth, flute – Friday, September 13 – 8:00 PM (Free w/ tickets required)
Molly Barth is a Grammy-winning flutist, as well as professor and clinician. She is a founder and former member of the ensembles Eight Blackbird and Beta Collide. Though this is not a jazz concert per se, I feel that the experimental nature of her music would interest the jazz listener. Certainly her style pushes the boundaries one might normally assign to the flute as an instrument.
Blair Big Band – Tuesday, September 24 – 8:00 PM ($0-30 – pay what you wish, must reserve tickets)
The Blair School Music Big Band will perform this month. Led by Ryan Middagh, himself a vastly experienced Big Band leader, as director of the Ryan Middagh Orchestra, the performance will offer a diverse repertoire, including big band standards, modern jazz compositions, and original works by some of its members.
Belmont
Faculty Jazz Group – Wednesday, September 18 – 7:30 PM (Free)
Belmont’s faculty jazz group will perform. As some of the best jazz educators and musicians in the country, this group will no doubt offer a stellar performance.
Regular Nashville Hangs
Bohemia After Dark: Live Jazz Band with Andrew Golden – Every Monday – 8:00 PM (Old Glory)
Tuesday Bluesday w/ Shantelle & The Juke Joint Band – Every Tuesday – 6:30 PM (Rawhides)
Weekly blues night with a different special guest each week.
Dinner & A Show – Live Jazz Band – Every Friday – 7:00 PM (Flamingo Cocktail Club)
Living Room Sessions – Every Friday & Saturday – 8:00 PM (W Nashville Hotel)
Regular weekly showcase featuring local indie, jazz, funk, and R&B bands.
Eastside Jam – Every Sunday – 9:00 PM (Inglewood Lounge)
This is not a traditional jazz jam playing standards, but rather an improv jam, but any jazz player or listener will still be interested!
From Intersection
A Lenten Concert from Intersection
On Saturday, March 23, Nashville’s contemporary music ensemble Intersection presented a concert titled Thin Places at the Trinity Presbyterian Church. The title of the program refers to “places described in Celtic spirituality where the space between heaven and earth is thinner, or in more secular terms, they are spaces that invite us to connect with things beyond ourselves.” Given the absence of anything Celtic, the setting (a church), the Lenten season, and the fact that the concert opened and closed with overtly Christian expressions of the “timeless imagery of the Resurrection,” the concert title felt like an awkward expression of modern Christian Syncretism. That said, the pieces themselves reflected a masterful collection of 21st Century compositional techniques composed and performed in an authentically meaningful way.
The evening opened with Shinuh Lee’s Choral Fantasy No. 4 for piano, written for soloist Jihye Chang’s Continuum 88 Series. The Fantasy was inspired by Martin Luther’s Ein Feste Burg melody, which was treated in a remarkable process of developing variation. This was performed with excellent clarity by the internationally acclaimed Chang. Lee’s description in the program states that, in composing this work, she employed parameters of limited harmonies, rhythm, and texture to emphasize the horizontal and vertical density of the piano to “express the spirit of the religious revolution that happened 500 years ago.” She was quite successful at this expression. The piece, given these parameters, was reminiscent of the minimalist musical movement, and it clearly embraced the violence of the Reformation but still managed to end beautifully in a victorious yet unresolved way.
However, at least to me, the piece was very discomforting. This melody, often described as the Marseillaise of the Reformation, has a history directly connected to the patriotism and nationalist elements of the movement in Germany, and has even been described as a battle anthem of the Thirty Years War by the Lutheran sect of Protestantism. Giacomo Meyerbeer employed it in his opera Les Huguenots as a leitmotiv that expresses, in turn, the aggression, faith and finally suffering of Protestants during the St. Bartholomew’s Day Massacre. In Lee’s work, from this perspective, I sensed some measure of the naïveté of faith (naïve, not because of faith in a higher power, but because of the perception of righteousness behind any violence committed on behalf of that faith). Perhaps this was made worse by the fact that the very night of the concert, several instances of religious extremist terrorism filled the front page of the New York Times (both above and beneath the fold).
The second piece, also written for Chang, was SILVER BELLS! By Sungji Hong. Another solo piece for the piano and based on the first section of the famous symbolist poem The Bells, by Edgar Allen Poe. The wide voicing of Hong’s bells, in a bright, sparkling consonance, seemed influenced by Debussy’s Cathedral and Scriabin’s Flame…at once. It was a beautiful performance that brought us into intermission on a wonderful note.
The second half of the concert opened with a sinfonietta onstage to perform Gary Powell Nash’s Look for the Helpers. This work, inspired by the shootings that occurred in Nashville and East Lansing in 2023, referred to the famous quote from Fred Rogers: “When I was a boy and I would see scary things in the news, by mother would say to me, ‘Look for the helpers. You will always find people who are helping.’”
A number of Nash’s compositional decisions were made on the basis of numbers derived from the number of victims in the events, as well as the rhythm created by the phrase “look for the helpers” and formally organized in Fibonacci proportions. While I rarely know what to do with extra musical parameters in my perception of a musical performance (it is very difficult for me to hear a Fibonacci proportion, for example) the recurring motive on “look for the helpers” had an excellent effect. Its continual occurrence expressed a fact that you just don’t see on the from page of any newspaper, be it the New York Times or the Tennessean–No matter the tragedy, there are always helpers. Kelly Corcoran, Director of Intersection, conducted what seemed to be a rather intricate score quite well, which her characteristic attention to detail and the maintenance of a clear balance of sound throughout.
The last work of the evening, Sungji Hong’s Igerthi for Piano and Sinfonietta was a World Premiere and Commissioned by Intersection. It roughly, in form and expression, is rather similar to a concerto, and somewhat heroic at that, amassed of a programmatic depiction of “the timeless imagery of the Resurrection, depicted in Byzantine icons,” with the title a Greek word for “He has risen.” Yet, the composer invites listeners on a “journey of self-discovery and renewal, transcending religious boundaries to touch upon themes of hope, transformation, and triumph of the human spirit.” I was taken up with the heroic narrative, between the glowing second movement and the dramatic dénouement in the third, the work is stirring. Further, Jihye Chang’s performance, incredible throughout the night, was simply revelatory in this final movement—no wonder that the piece was dedicated to her. It was a wonderful evening of masterfully composed and performed works of the 21st century. Intersection returns May 3rd with “Boundless Beats,” at the Public Library Downtown.
The MCR Interview
Oz Art’s Co-Founder and President Tim Ozgener on the Organization’s Upcoming Tenth Anniversary Bash
Native Nashvillian and proud son to Turkish-Armenian immigrant parents, Tim Ozgener is the co-founder, President and CEO of Oz Arts Nashville, a non-profit contemporary multi-arts center just beyond The Nations. In March, Journalist Bethany Morgan had the chance to chat with Tim about the upcoming 10th Anniversary of Oz Arts, and its history. Below is a video of that conversation:
Jazz at the Schermerhorn
The Duke Ellington Orchestra and the Joy of Music
On March 1st, 2024, the Duke Ellington Orchestra performed at the Schermerhorn Symphony Center, filling the space with extraordinary playing and, above all, a sense of joy and connectedness. Without a doubt, this Orchestra carries on Ellington’s legacy of exquisite music and impeccable performance that are both beyond category.
Edward Kennedy “Duke” Ellington (1899-1974) was one of the most influential musicians and composers of the 20th century. Nicknamed “Duke” by a childhood friend who thought that the way Ellington conducted himself was akin to a noble, he started taking piano lessons when he was seven. However, he did not find his passion for piano until he was fourteen and began to hang out at Frank Holliday’s Pool Hall in Washington D.C., where he would listen to and meet myriad pianists and people from all around the country. Duke Ellington was a wonderful pianist, but as one of his closest collaborators, Billy Strayhorn, would put it, “Duke Ellington plays the piano, but his real instrument is his band.” Even at the beginning of his career, Duke Ellington quickly took up the position of bandleader, forming his first group, “The Duke’s Serenaders,” in 1917. In 1923, he moved to New York City and was playing with a group initially called Elmer Snowden and his Black Sox Orchestra. This group would be renamed The Washingtonians, and, following a disagreement with former leader and banjoist Elmer Snowden, Ellington was chosen to be the new leader of the group. This group would eventually transform into the Duke Ellington Orchestra, playing at Club Kentucky in 1925, the Cotton Club starting in 1927, and countless other places over the decades that followed.
The Duke Ellington Orchestra built a strong legacy with Duke’s leadership that was continued in 1974 by Duke’s son Mercer Ellington, who took over the group after Duke’s death. Mercer saw to assisting the band and preserving its legacy, a legacy that would continue to hold strong following Mercer’s death in 1996, with his youngest son, Paul Ellington, taking the reins. Even though Mercer and Paul may both lead the group differently from Duke, following the Orchestra’s performance on March 1st, I am happy to be able to confirm that their website’s assertion that “today’s Duke Ellington Orchestra swings with the same musical energy and vibrancy as it did 100 years ago” absolutely rings true. I can see that Mercer and Paul maintained Duke’s talent for discovering wonderful musicians that continue to propel the group to wonderful heights, as the Orchestra’s playing maintains unquestionable depth and exuberance. They all undoubtedly honor Duke’s legacy, and the world of jazz—or, American music, as Duke would come to call his music—is lucky to have them.
The Duke Ellington Orchestra’s performance was immaculate from beginning to end and filled with exciting variety. I did wish at times that the piano was a little louder, as from my seat in the back, I could not always hear it as well as I would have liked during louder full band sections, but the fact that this is my only real complaint is a testament to the group’s skill and stage presence. From the moment the group came on stage to the moment they left, they radiated infectious joy and passion for the music. Nowhere was this clearer than with alto saxophonist and band leader Charlie Young. He would talk to the audience between pieces, giving explanations and history for each piece, making jokes, and simply connecting with the concertgoers. One could not help but smile while listening to him; the mood he created was comfortable and welcoming, as if the Orchestra was at home playing for a group of friends, excited to share something meaningful and beautiful. This sense of excitement and joy was evident throughout the night in every player, filling the hall with a passionate and energetic atmosphere.
The evening naturally began with “Take the ‘A’ Train,” the signature theme song of the Duke Ellington Orchestra, setting the stage for a night of fervent enthusiasm. Following this was “Satin Doll,” which featured a bass solo by J. J. Shakur that embodied all the previously mentioned elements of jubilation. During his solo, Shakur smiled almost as if letting the audience in on a joke while he performed feats of musical acrobatics, rapidly traveling up and down his upright bass. Shakur seemed to almost embrace a humorous side of soloing while still playing wonderful lines with incredible intonation. 
As a percussionist and drummer myself, I always appreciate watching and admiring other drummers, and David F. Gibson was phenomenal on drums. A masterful drummer truly sets the tone for an entire group, not just musically but also visually, especially when they are placed center stage as was the case on this evening. Gibson perfectly matched every song in both regards, which was simply a delight to watch. I particularly noticed him swap from sticks to mallets during “Black and Tan Fantasy” which was a unique choice with a great sound for the section, with the whole night being filled with similarly wonderful decisions. Visually, he enhanced every song with his clear passion for the music and clear admiration for his fellow musicians.
The appreciation that the entire Orchestra showed for each other was heartwarming to behold. This was evident throughout the night, and Paul Ellington came out in the second half of the show to give some brief words of gratitude. After Paul’s address, one other particularly unique element of recognition was the mention of the fact that the Orchestra had a substitute player for the first half of the show. Charlie Young specifically highlighted the substitute’s playing and heaped praise on him, and at the end of the show, the Orchestra came back for an encore piece, bringing out the substitute player as well. It was lovely to see the way that the Orchestra acknowledged each other and acknowledged their substitute player.
Perhaps the most notable example of this was the group’s performance of “Cotton Tail.” Their dynamic performance was an electric rendition of the song featuring alto saxophonist Shelley Carrol, beginning with a delightful call and response section between Carrol on saxophone and the rest of the Orchestra who would sing Carrol’s musical phrases back to him. Carrol’s virtuosic playing energized the room, and by the end of it, the audience jumped to their feet in celebration. The entire night had been filled with joy and exultation, and these feelings culminated during this standing ovation with Charlie Young fervently exclaiming, “That’s my friend!” as Carrol looked happily between the audience and his fellow musicians.
Seeing the Duke Ellington Orchestra live was an inspiring and joyous experience, and I highly recommend it to anyone who gets the chance!
