At the Darkhorse Theater
The Revolutionists Premiers at Darkhorse Theater
To mark the International Women’s Day, Women in Theater (WIT) Nashville brings to stage Lauren Gunderson’s acclaimed play The Revolutionists, directed by Stephanie Dillard, who also serves as the board president of WIT.
The Revolutionists is a comedy that depicts the fictional meeting of real people: playwright Olympe de Gouges, assassin Charlotte Corday, former queen (and fan of ribbons!) Marie Antoinette, and Haitian rebel Marianne Angelle, who face their disagreements and try to beat back the extremist insanity in 1793 French Revolution Paris. This is a comedy about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisterhood, and how we actually go about changing the world.
Playwright Lauren Gunderson is one of the most produced playwrights in the United States since 2015, topping the list thrice including 2022/23.
Women in Theatre (WIT) Nashville was founded in 2023 to showcase the incredible talent, stories, and voices of women in the performing arts. It strives to create a vibrant and inclusive artistic space that champions the unique perspectives of women.
Performances are at the Darkhorse theater, March 8-9. For tickets and more information: https://www.witnashville.org.
The MCR Interview
Tenor Anthony Kearns on his Career & Upcoming Concert in Nashville
Anthony Kearns, an internationally acclaimed tenor, record producer and member of the Irish Tenors speaks with MCR journalist Sarah Queener on his life and career, his perceptions of the United States and country music.
Cheekwood's Winter Concert Series
Music City Latin Orchestra turned up the heat on a cold winter night
Beginning with the setting where we had the privilege to enjoy the Music City Latin Orchestra’s show, every element in this concert was a delightful peculiarity. As part of the Winter Concert Series organized by Cheekwood Estate & Gardens, the Massey Auditorium was transformed into a dance floor. The space was arranged both for those who wished to appreciate tropical rhythms from the comfort of their chairs and for those overcome by the spirit of dance who inevitably had to yield. Daniel Enrique’s (Venezuela) warm voice encouraged the first couples to break the ice in a venue welcoming both Latinos and non-Latinos; skillfully, they traced the basic steps of salsa. Even though my country is known for spawning the ‘world capital of salsa’, and this genre is very familiar to me, the movements with which the couples inaugurated the first songs surpassed my abilities. I dare say several attendees experienced the same modesty, only rising to visit the bar.
The repertoire began to vary, and the confidence of the natives was reinforced with one of the most well-known songs in the R&B genre, ‘Stand by Me’ by Ben E. King. Transformed into a bachata rhythm, its declaration verses swayed between English and Spanish. What delicacy in the performance by singer Sarai Siddiqui, what diaphanous harmonies in the winds. This version highlighted the mastery of musical director Giovanni Rodríguez in adapting different musical genres into the tropical language, emphasizing the virtues of each. Bachata is not an easy rhythm to dance to, but its romantic quality and slower tempo promote letting oneself be carried away by its movements. More couples joined the dance floor while chanting so darlin’, darlin’, stand by me…
Continuing with this rhythm originating in the Dominican Republic, the single ‘Bachata Rosa’ by singer-songwriter Juan Luis Guerra, was a return in time for those of us who as children enjoyed his peculiar poetry. Each song from the album bearing the same name is an allegory to love and sensuality; the subtle metaphor woven into each stanza makes its lyrics suitable for all ages. In 1991, the success of ‘Bachata Rosa,’ a mix of traditional bachata and romantic ballad, opened the international door to this Dominican genre.
As the concert progressed more empty chairs were observed, several attendees decided to stand up, not to dance, but to better appreciate the show. From the orchestra began to emerge singers on keyboards and percussion, from their throats came the authentic timbres of the Caribbean. Each member was a school of salsa, bolero, and son. Melvin Macías and Manuel Manotas seemed to be time travelers from the era when Benny Moré paved the way for improvisation in singing. Both the eyes and the ears were decanted in each instrument and in each voice, although the whole ensemble must walk together, each line was worthy of a soloist performance. This is another great wonder of salsa, inspired by the virtuosity of Big Band solos, typically making room in its songs for improvised melodies. These moments were not long in coming, the revolutions of music inevitably called for them, as well as the presentation of a magnificent cast of musicians. The brass section was composed of Jovan Quallo (Jamaica) on saxophones, Steve Patrick (USA) on trumpet, Jonathan Salcedo (Venezuela), and Barry Green (USA) on trombones, and Andy Robinson (USA) on flute. The unmistakable ‘baby bass’ and bongos were played by Isoel Villarubia (Puerto Rico) and Yosvany Cordero (Cuba), respectively.
The great hallmark of this musical project is to preserve the genuine sound of classic salsa. Although versions of soul and blues hits can be enjoyed, Giovanni Rodríguez maintains in his arrangement’s traditional rhythms such as the base of the son cubano or the characteristic voicings of the tropical orchestra. Salsa is a genre enriched with the heritage of different races; African percussion was mixed with native American instruments such as the güiro and maracas. In New York this conjunction is complemented by the piano and the winds of the Big Band. The resonant voices of Cuba and Puerto Rico turn Latin jazz into a blunt expression of melancholic stories told with joy. The mambo, the guaracha, the chachachá, and the guaguancó, found fertile ground in the ‘Spanish Harlem’ to orchestrate themselves with the techniques of jazz and stamp their identity on it. It is for this reason that the genre takes the name of ‘salsa’ (sauce), its music is seasoned with different influences, and in turn, its unique sound spiced up the American style.
Anywhere in the world, even one classic song has been played on the radio, salsa began to effervesce with such success that it quickly spread throughout the planet through recordings and tours. It is always pleasant to find their albums in stores in any city and even better, a venue to listen to them live. —”Do you dance salsa?” It is commonly the question received by a Latino abroad, as there is no party without space for Caribbean rhythms. On this occasion, salsa once again achieved its victory; the audience surrounded the orchestra and danced uninhibitedly. It is a privilege for the music scene in Nashville to have musicians of such high caliber; the Music City Latin Orchestra is a project that extraordinarily fulfills the desire to savor authentic salsa.
La Serie de Conciertos de Invierno organizado por Cheekwood Estate & Gardens
Music City Latin Orchestra subió la temperatura en plena noche de invierno
Comenzando por el escenario en el que tuvimos el privilegio de disfrutar el espectáculo de Music City Latin Orchestra, cada elemento en este concierto fue una grata particularidad. Como parte de la Serie de Conciertos de Invierno organizado por Cheekwood Estate & Gardens, el Auditorio Massey se transformó en una pista de baile. El espacio se dispuso tanto para quienes deseaban apreciar los ritmos tropicales en la comodidad de su silla, como para los que invadidos por el espíritu del baile inevitablemente debían ceder. La cálida voz de Daniel Enrique (Venezuela) hizo que las primeras parejas se arriesgaran a romper el hielo en un recinto que acogía tanto a non-latinos como a latinos; con destreza trazaron los pasos básicos de la salsa. A pesar de que mi país es reconocido por engendrar a la capital mundial de la salsa, y de que así mismo este género es muy familiar para mí, los movimientos con los que las parejas inauguraron las primeras canciones superaban mis capacidades. Me atrevo a decir que varios asistentes experimentaron la misma modestia, y solo se ponían de pie para visitar el bar.
El repertorio comenzó a variar y la confianza de los nativos se reforzó con una de las canciones más conocidas en el género de R&B ‘Stand by me’ de Ben E. King. Transformada en ritmo bachata, sus versos de declaración se mecieron entre el inglés y el español. Cuánta delicadeza en la interpretación de la cantante Sarai Siddiqui, cuán diáfanas armonías en los vientos. Esta versión puso en evidencia la maestría del director musical Giovanni Rodríguez para adaptar diferentes géneros musicales en el lenguaje tropical resaltando las virtudes de cada uno. La bachata no es un ritmo sencillo de bailar, pero es su calidad romántica y de tempo más lento lo que promueve dejarse llevar por sus movimientos. Más parejas se unieron a la pista a la vez que coreaban so darlin’, darlin’, stand by me…
Continuando con este ritmo originario de República Dominicana, el sencillo ‘Bachata Rosa’ del cantautor Juan Luis Guerra, fue un regreso en el tiempo para quienes de pequeños disfrutábamos de su peculiar poesía. Cada canción del álbum que lleva el mismo nombre, es una alegoría al amor y a la sensualidad; la sutil metáfora que se entreteje en cada estrofa, convierte sus letras en contenido apto para toda edad. En 1991 el éxito de ‘Bachata Rosa’ una mezcla de la bachata tradicional y la balada romántica, abrió la puerta internacional a este género dominicano.
Conforme el concierto avanzaba se observaban más sillas vacías, varios asistentes decidieron ponerse de pie no para bailar, sino para apreciar mejor el show. De la orquesta comenzaron a surgir cantantes en los teclados y en la percusión, de sus gargantas se desprendían los auténticos timbres del Caribe. Cada integrante era una escuela de la salsa, del bolero y del son. Melvin Macías y Manuel Manotas parecían ser unos viajeros en el tiempo de la época en la que Benny Moré preparaba el terreno de la improvisación en el canto. Tanto la mirada como los oídos se fueron decantando en cada instrumento y en cada voz, si bien todo el ensamble debe caminar en conjunto, cada línea era digna de una actuación solista. Esta es otra gran maravilla de la salsa que, inspirada en el virtuosismo de los solos de las Big Band, normalmente cede un espacio en sus canciones para las melodías improvisadas. Estos momentos no se hicieron esperar, las revoluciones de la música inevitablemente los pide y la presentación de un magnífico elenco de músicos también. La sección de vientos estuvo conformada por Jovan Quallo (Jamaica) en los saxofones, Steve Patrick (EEUU) en la trompeta, Jonathan Salcedo (Venezuela) y Barry Green (EEUU) en los trombones y Andy Robinson (EEUU) en la flauta. El inconfundible ‘bajo baby’ y los bongoes fueron interpretados por Isoel Villarubia (Puerto Rico) y Yosvany Cordero (Cuba), respectivamente.
El gran sello en este proyecto musical, es preservar el sonido genuino de la salsa clásica. A pesar de que pueden disfrutarse versiones de éxitos del soul y del blues, Giovanni Rodríguez mantiene en sus arreglos ritmos tradicionales como la base del son cubano o los característicos voicings de la orquesta tropical. La salsa es un género enriquecido con la herencia de diferentes razas; la percusión africana se mezcló con los instrumentos autóctonos de América como el güiro y las maracas. En Nueva York esta conjunción se complementa con el piano y los vientos de las Big Band. Las voces resonantes de Cuba y Puerto Rico convierten el jazz latino en una expresión sin tapujos de historias melancólicas narradas con alegría. El mambo, la guaracha, el chachachá, y el guaguancó, encontraron el terreno fértil en el ‘Spanish Harlem’ para orquestarse con las técnicas del jazz e imprimir en él su identidad. Es por esta razón que el género toma el nombre de ‘salsa’, su música está condimentada de diferentes influencias y a su vez su inigualable sonido, condimentó el estilo estadounidense.
En cualquier parte del mundo siquiera un clásico ha retumbado en la radio, la salsa comenzó a efervescer con tal éxito, que rápidamente se extendió a lo largo del planeta a través de grabaciones y giras. Es siempre grato encontrar en las tiendas de cualquier ciudad sus discos y aún mejor un recinto para escucharla en vivo. —¿Bailas salsa? Es Comúnmente la pregunta que recibe un latino en el extranjero y es que no hay fiesta en la que no quede espacio para los ritmos del Caribe. En esta ocasión la salsa obtuvo de nuevo su victoria, el público rodeó la orquesta y danzó desinhibido. Es un privilegio para la escena musical en Nashville contar con músicos de tan alto nivel, Music City Latin Orchestra, es un proyecto que complace de manera extraordinaria el deseo de saborear auténtica salsa.
Playing at TPAC
An Ethereal Little Musical about a ‘Jagged Little Pill’
The album “Jagged Little Pill” was released on 13 June 1995 by Canadian-American singer Alanis Morissette. It was her third album and most successful to date, with over 33 million copies sold. It earned double diamond in sales, making Alanis Morissette the first Canadian to achieve the feat. Written and released in the prime days of post-grunge and alternative rock, it was Alanis’ first album in the genre, her previous two being pop/electronic. The album represented a huge shift in her musical style, and it had a huge impact on the music industry, earning nine Grammy nominations and winning five. To this day, the album holds significant influence on the music scene. The musical “Jagged Little Pill” by Broadway is an example of such.
I went to see the musical on March 1st, hosted at Andrew Jackson Hall in the Tennessee Performing Arts Center. Entering at the last minute, it was nearly sold out, almost every seat filled; the crowd was a melting pot of all of America’s generations, from early Baby Boomers to young Gen Zers, like myself. I hurried to my seat and sat down just as the lights dimmed.
The musical builds a story using the lyrics from all the songs of Jagged Little Pill. It centers around a nuclear family: a mother, Mary Jane Healy, her Harvard-bound son Nick Healy, her stubborn and activist daughter Frankie Healy and her workaholic husband, Steve Healy. Supporting characters include grungy teenager Jo and popular high schooler Bella. The musical follows the story of Mary Jane and her struggle with drug abuse and rape trauma, while pushing her son to be the best he can be for Harvard. Frankie, an adopted child, often feels inadequate and turns to activism and poetry to release her frustrations. She begins a relationship with Jo, whilst Mary Jane and Steve struggle with their relationship. Frankie cheats on Jo, and then Nick attends a high school party where Bella is drugged and raped. Mary Jane overdoses on fentanyl and finally reveals her rape survival story, prompting Nick to go to the police and testify as a witness. Frankie and Jo make up but choose to stay friends, and all together, the cast sings the anthemic “You Learn,” the second single release from Jagged Little Pill.
Overall, the writers did an excellent job creating a story from the songs of Jagged Little Pill. Alanis Morissette’s album is mostly formed of personal stories based on her life experience, particularly romantic relationships. The lyrics perfectly matched many of the scenes, especially the scene where Jo finds out Frankie cheated on her. She performs “You Oughta Know,” which was without a doubt the best performance of the entire musical. Jade McLeod’s voice is both smooth and gravelly, angelic and growly. While the instrumentalism of the original album is more typical of grunge and alternative rock (distorted guitar, keyboard, heavy drumming, slightly growly vocals), orchestrator Tom Kitt decided to add strings to the ensemble. This was a beautiful and genius touch to the arrangement, as the strings were much better at mimicking the emotions in several songs, particularly the closing song “You Learn.” At times, the storyline felt busy, since so many plotlines were happening at once in such a short time, as well as the choreography including at least a dozen dancers at any one time. However, the acting and vocals certainly make up for its flaws. To bring even more praise, I thought the costume design to be a genius of its own, with each outfit clearly reflecting the personality of the character (mom jeans and a simple top for mother Mary Jane, suit and tie for workaholic Steve, ripped sweater and shorts for rebellious Frankie, baggy jeans and sweater for alternative Jo).
This musical is a beautiful, ethereal masterpiece, built from another masterpiece, and absolutely worth the ticket. It beautifully encapsulates the music of Alanis Morissette and thoroughly and articulately tells the story of many heartbreaking experiences thousands of Americans go through every year. It was a hard watch, with many tears shed, but well done.
The Trail To Oregon! Coming to The Barbershop Theater
Many of us remember playing The Oregon Trail video game as kids, with its strangely successful mixture of children’s education with frequent fatalities (I don’t recall mortality featuring in Freddi Fish). For those of you too old or young to have played this in the 80’s-00’s, the game is about making it from the beginning to the end of the Oregon trail, teaching children about the difficulties of pioneer life. You buy supplies, are met with good or bad luck, and many characters die. Every choice matters.
Now Nashville’s Street Theatre Company presents The Trail To Oregon! Originally written and produced by Team StarKid (of “A Very Potter Musical” fame), the musical comedy parodies the video game series and follows a pioneer family as they journey westward to make a new life for themselves. Director Jonah M. Jackson says “Trail to Oregon is extra special because of how different every performance is! The audience plays a big part in the show, and even gets to decide how it ends each night!” Who will die of dysentery?
The Trail to Oregon! will be performed at the Barbershop Theater March 8-23. For more information and for tickets (opening weekend is already sold out): Street Theatre Company.
Please note: this show is recommended for ages 16+ for mature language and content.
The MCR Interview
Conductor & Organist Wayne Marshall on His Upcoming Concert with the Nashville Symphony
The MCR Interview: Journalist Daniel Krenz interviews British conductor, organist, and pianist, Wayne Marshall. Marshall is world-renowned for his musicianship and versatility on the podium and at the keyboard. On March 7-9, 2024 he will visit Nashville and conduct Edward Kennedy “Duke” Ellington’s Harlem, Francis Poulenc’s Concerto for Organ, Strings and Timpani (performing also as soloist), Leonard Bernstein’s Symphonic Dances from West Side Story, and George Gershwin’s Second Rhapsody for Piano and Orchestra.
Coming this Month:
The Jazz Beat: March 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!
This Month’s Highlights
I’d like to begin by highlighting right up top some of the more unique events happening this month that I think you’ll be interested in. These include shows and acts that you won’t find as regular appearances.
The Duke Ellington Orchestra – Friday, March 1 (TODAY!) – 7:30 PM
The Nashville Symphony hosts the Duke Ellington Orchestra at Schermerhorn Symphony Center. This year the Orchestra, founded by Ellington himself, celebrates its 100th anniversary. This performance will no doubt be incredible as the Orchestra continues to carry on the legacy of possibly the most prolific and influential songwriter of the 20th Century. Tickets can be purchased through the Nashville Symphony website.
Maurice “Mobetta” Brown – Sunday, March 10 – 7:30 PM
City Winery Nashville presents on the Main Stage a stellar performance by Grammy-nominated trumpeter and artist Maurice “Mobetta” Brown. An eclectic artist who seamlessly fuses contemporary jazz, blues-rock and hip-hop, Brown is sure to both please and surprise listeners of a wide variety of genres. Brown has won awards for his trumpet playing, and been nominated for a Grammy for his music, and has toured with some of the biggest names in jazz and popular music. The lineup includes Brown on trumpet, Isaiah Sharkey on guitar, Robert “Sput” Searight on drums, Joe Cleveland on bass, and Dominique Xavier Taplin on keys. Don’t miss this incredible show! Tickets can be purchased through City Winery.
Creek featuring Kristen Warren & Ryan Devlin – Friday, March 15 & Saturday, March 16 – 11:00 PM
A pair of special performances at Rudy’s brings together musicians and artists from Florida and Boston. Creek is a jazz-fusion group from Central Florida which blends together traditional jazz and swing music with the more modern sounds of rock, funk and soul. The band will perform with vocalist Kristen Warren, a traveling singer-songwriter from Melbourne, FL, who performs classical jazz standards as well as her own original music, and Ryan Devlin, an award-winning up-and-coming saxophonist who has toured the country performing in famous jazz clubs like Smalls in New York City. Cover is $12 at the door.
Rudy’s Jazz Room
We of course must begin with 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. Prices listed are the same as a cover at the door or with advanced tickets, which can be purchased through Rudy’s website.
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.
Naama Quartet – Saturday, March 2 – Two Sets, 5:30 PM & 8:00 PM
New York City jazz vocalist Naama graces the Rudy’s stage for two sets with her Quartet, in support of her fourth album, just released in January, which tells the story of a relationship from beginning to breakup through carefully selected Jazz Standards. Cree McCree of Downbeat Magazine said, “Naama’s voice evokes a honeyed warmth…swoops up and plummets down onto a lovestruck madness… her voice drifts onto a pillow of dreams.” You won’t want to miss this performance. Cover is $16.
Ellie Martin Quartet – Saturday, March 9 – 8:00 PM
Toledo-based vocalist Ellie Martin makes her Rudy’s debut as she celebrates the release of her debut album, Verdant, which features all original music that blends classic jazz with pop, Latin, and singer-songwriter styles. Martin holds a PhD in Jazz Studies, and has performed at numerous jazz festivals around the country. Her Quartet features Matt Endahl (piano), Kurt Krahnke (bass), and Olman Piedra (drums). Cover is $22.
Creek featuring Kristen Warren & Ryan Devlin – Friday, March 15 & Saturday, March 16 – 11:00 PM (Detailed Above)
John Fumo’s Entropy – Album Release & Tribute to Miles & Herbie – Wednesday, March 20 – 9:00 PM
A recent Nashville transplant, John Fumo relocated here after a long and successful career in Los Angeles recording and composing, as well as touring with big names like Neil Diamon, Neil Young, Brian Setzer, and many others. Now he releases a new album, and celebrates by giving a special performance featuring original music as well as covers of Miles Davis and Herbie Hancock’s jazz fusion era, 1969-75. Fumo has been a lover of Davis’s music for as long as he can remember, so these tunes are coming from one who certainly knows how to pay tribute to the legend. Cover is $15.
Jerome Degey & Friends – Friday, March 22 – 11:00 PM
Now a Nashville resident, Paris-born guitarist Jerome Degey offers a unique style of music. With a family heritage that is both French and Afro-Caribbean, added to a long immersion in Brazilian culture, the music of these places blends with the influences he has picked up living in the States, producing a beautiful mixture of cultures in his music. Degey has performed with a number of notable artists from across the world. Cover is $10.
Rudy’s Regulars
Don Aliquo – Multiple Performances
One of Nashville’s most active and accomplished saxophonists, Aliquo will be performing a number of times this month with several different groups, detailed below.
Don Aliquo Trio – Three Performances
Saturday, March 2 – 11:00 PM ($10 Cover)
Saturday, March 16 – 5:30 PM ($15 Cover)
Saturday, March 23 – 11:00 PM ($10 Cover)
Don Aliquo and the Feel Good Trio – Friday, March 8 – 8:00 PM ($20 Cover)
Don Aliquo Quartet – Sunday, March 10 – 6:00 PM ($15 Cover)
Pat Coil – Multiple Performances
Accomplished pianist Pat Coil will give two performances this month, each with a unique group. The first is with his trio, consisting of Jacob Jezioro on bass and Luke Woodie on drums, and the group will perform a classic piano trio set. The second is with a unique group Coil has formed, known as “Pat Coil’s Music for Humans.” The group consists of Jovan Quallo (tenor sax), Brian Allen (bass), Hunter Strasser (guitar), and Wes Little (drums).
Pat Coil Trio – Saturday, March 23 – 5:30 PM ($15 Cover)
Pat Coil’s Music for Humans – Friday, March 29 – 8:00 PM ($21 Cover)
Re-Evolution – Monday, March 4 & Monday, March 18 – 6:00 PM ($12 Cover)
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 – Wednesday, March 6 & Wednesday, March 27 – 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.
MILEStones: Tribute to Miles Davis – Wednesday, March 13 – 9:00 PM ($15 Cover)
With a focus on the two “great quintets” Miles Davis led in the 1950’s and 60’s, MILEStones is a Nashville-based ensemble that pays homage to the jazz legend by utilizing the exact arrangements and instrumentation Davis used on his famous recordings.
Stephanie Adlington – Friday, March 22 – 8:00 PM ($20 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.
Giovanni Rodriguez & 12 Manos – Every Monday – 9:00 PM ($13 Cover)
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).
Jody Nardone Trio – Friday, March 1 – 5:30 PM & Saturday, March 30 – 8:00 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)
Geoff Pfeifer Quartet – Saturday, March 9 & Friday, March 29 – 11:00 PM ($10 cover)
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.
Hot Club Gypsy Jazz – Every Thursday – 6:00 PM
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. Cover is $12 at the door or in advance.
Rudy’s Jazz Jam – Every Sunday – 9:00 PM
I couldn’t make a list of Rudy’s events without including a shout-out for the regular weekly Jazz Jam the club hosts every Sunday night. Whether you are a jazz musician and you want to jam with your fellow artists, or you just want to come and enjoy what the local talent has to offer, the Jazz Jam is a great way to end your weekend.
The 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
Jeff Hamilton Trio – Saturday, March 2 – 7:30 PM
Virtuoso jazz drummer Jeff Hamilton brings his trio, consisting of Jon Hamar on bass and Tamir Hendelman on piano to the Jazz Cave. A frequent visitor to the Jazz Workshop, Hamilton is a legend among jazz drummers. His trio presents a hard-swinging jazz experience. Tickets are $50.
Ryan Middagh Jazz Orchestra – Sunday, March 10 – 7:30 PM
Ryan Middagh is a saxophonist, producer, composer, arranger, and Director of Jazz Studies at Vanderbilt University’s Blair School of Music. His Big Band ensemble consists of world-class musicians based in Nashville, including top-call studio musicians, touring artists, music educators, and fellow composers and arrangers. Endeavoring to prove that big band ensemble music is perfectly at home here in Music City, the Orchestra is sure to give a wonderful performance. Tickets are $40.
Joseph Wooten and the Hands of Soul – Saturday, March 16 – 7:30 PM
Joseph Wooten’s musical journey began alongside his brothers in the amazingly talented Wooten family, but he has no doubt staked out a distinct place for himself in the music industry. He has received three Grammy nominations and has performed and collaborated with a wide array of artists, including as longtime keyboardist and vocalist in the Steve Miller Band. Wooten and his band the Hands of Soul now offer an emotional and soulful performance in the Jazz Cave. Tickets are $35.
Singing for NJW – Saturday, March 23 – 7:30 PM
The Nashville Jazz Workshop presents an evening of captivating vocal melodies from artists Joe Freel, Liz Johnson, Sandra Dudley, Chris Watson, Monica Ramey and Crystal Miller along with the Lori Mechem Trio to support the fostering of a vibrant jazz community in Nashville. Tickets are $35.
Community Events – Schermerhorn Symphony Center
The Duke Ellington Orchestra – Friday, March 1 – 7:30 PM (Detailed Above)
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.
Sofiane Pamart – Tuesday, March 5 – 8:00 PM
Though technically a Classical pianist, Sofiane Pamart has found success with listeners of many genres. One of the top-10 Most-Streamed classical artists, Pamart has enjoyed an accomplished career. Main Stage. Tickets start at $20.
California Guitar Trio – Friday, March 8 – 7:00 PM
Composed of guitarists Bert Lams and Paul Richards and Chapman Stick player Paul Griesgraber, the California Guitar Trio is another group that transcends a single genre. This unique group endeavors to explore the intersection between rock, jazz, classical, and many world genres. This adventurous spirit has earned the group a close personal connection with its audiences. The Lounge. Advanced GA tickets are $30, day-of GA is $35.
Maurice “Mobetta” Brown – Sunday, March 10 – 7:30 PM (Detailed Above)
Kyla Jade Sings Aretha – Monday, March 25 – 7:30 PM
Recording artist and The Voice finalist Kyla Jade presents an evening celebrating and honoring the Queen of Soul. Main stage. Tickets start at $30.
An Evening with Pierre Bensusan – Friday, March 29 – 7:00 PM
Another performance that is not strictly jazz but will be of interest is Pierre Bensusan, a French-Algerian acoustic guitarist who plays exclusively in DADGAD tuning. With a Sephardic Jewish family lineage tracing from Spain, Spanish Morocco, and French Algeria, Bensusan’s music has been described as Celtic, folk, world music, New Age, and chamber jazz. The Lounge. Advanced GA tickets are $25, and day-of GA is $30.
Cheekwood Estates
Piano in the Mansion – Performances March 2, 3, 9, & 10 – 12:00-2:00 PM
On the dates above the superb and meticulously preserved Steinway piano at Cheekwood Estates will be graced by the talents of renowned and celebrated pianist Chris Walters. A New Orleans native, Walters has lived in Nashville since 1989, and in that time has enjoyed a storied career, recording and performing with a number of artists, including The Jeff Coffin Mu’tet, JD Souther, and The Peter Mayer Group. The already stunning beauty of Cheekwood Estates will be elevated even more by the soothing melodies Walters provides.
This performance is accessible with “Gardens + Mansion” tickets and Cheekwood Estates.
Universities
There is one special guest concert happening in the Nashville-area university scene, detailed below:
Belmont University
Tamir Hendelmen – Sunday, March 24 – 2:00 PM
World-renowned jazz pianist Tamir Hendelmen will perform in Belmont’s McAfee Concert Hall. Known for his vibrant performances and his stellar arrangements, Hendelmen has toured the globe with artists such as Natalie Cole, Barbara Streisand, and Tierney Sutton.
I wanted to make a brief note just to highlight the performances of the University Big Bands. These ensembles tend to feature the cream of the crop of student talent, so I thought it would be worth mentioning.
Middle Tennessee State University
These ensembles will perform in MTSU’s Hinton Hall:
Jazz Ensemble I – Wednesday, March 13 – 7:30 PM
Jazz Ensemble II – Tuesday, March 18 – 7:30 PM
Vanderbilt University
This concert will take place in Vanderbilt’s Steve & Judy Turner Recital Hall:
Vanderbilt Jazz Orchestra – Monday, March 4 – 8:00 PM
This event is free but requires tickets for admission, which you can reserve through the Vanderbilt Music School’s website.
Other Notables
Funk Night Nashville – Exit/In – Friday, March 1 – 9:00 PM
A night of deep funk music featuring The Deep Fried Five, Remsteele, and the Funk Night Nashville DJs. GA tickets are $22.
Earl Erb Jazz Trio – Springwater Supper Club & Lounge – Friday, March 1 – 5:00 PM
The African Company Presents Richard III: Unbelievably True
For their Spring Shakespeare presentation, the Nashville Shakespeare Festival did a staged reading of Carlyle Brown’s play The African Company Presents Richard III. Based on true events, the play is about an African American-run theater company in 1821 New York City, which is successful among the Black community, and is drawing in whites as well (who, ironically, are seated in a separate area in the back). Their latest success is a presentation of Richard III. But Stephen Price, the white manager of the Park Theatre, dislikes the idea of any competition between his production of Richard III and theirs, especially since his production is soon to premier, starring the famous British actor Junius Brutus Booth (this celebrity was a mentally ill alcoholic who, among other things, wrote a prank death threat to President Andrew Jackson, and whose son assassinated Abraham Lincoln). Price gets police cronies to shut down the African Grove Theatre over fire-code violations. Instead of allowing themselves to be defeated, the African Theatre decides to find a new location for their performances: a hotel ballroom right next to the Palace Theatre. Much of the play is spent on interpersonal tension in the African Theatre as they prepare for their production of Richard III in the new space and as an open act of defiance.
Besides the straightforward market competition between the two shows, Price views the production of Shakespeare by Blacks as presumption and culturally dangerous: it’s rather difficult to maintain the argument of racial superiority when the “inferior” race is producing popular productions of high art. As a sort of prologue, the poem “We Wear the Mask,” by Paul Laurence Dunbar (We Wear the Mask by Paul Laurence Dunbar | Poetry Foundation) is recited, emphasizing the later discussion of what it is to play a role in a play when you already have to play a role in your everyday life (For more discussion of this element in the play, see the MCR Interview with Direction Lawrence James:The African Company Presents Richard III: Interview with Director Lawrence James – The Music City Review).
After the prologue, the villain of the piece, Price, comes on stage to speak to the audience of his theater on its opening night, and explain that the disturbance caused by the Black theater next door is now over and its culprits are going to jail. The contemptuous open nineteenth century racism of his speech is an effective, shocking way to begin. It’s followed by a scene occurring two days before, as members of the African Company meet for rehearsal. They talk about their latest successful performance and we are introduced to the romantic tension between Jimmy and Ann, who play Richard III and Lady Ann. This play is rather an ensemble piece, with only seven characters and a pretty even dispersion of dialogue (The Constable Man, a pawn to Price, is the only minor role).
There is some direct comedy in the play: after complaining about Lady Ann’s fickleness in Shakespeare’s play, and the implausibility of her giving in to Richard’s wooing, Ann has a freudian slip in rehearsal with Jimmy, revealing her true feelings for him.There’s a witty bargaining scene between the head of the African Company, Willie, and Price, in which Willie wins the battle of wits but causes Price to determine to shut down the new production with the help of the police yet again. Jimmy and Ann argue and she decides to quit the production, and for a portion of the play the characters look for her. When she’s found, Papa Shakespeare, the rather eccentric older actor and drummer, acts as a go-between between the bickering couple, openly altering their messages in an attempt to get them together.
Many aspects of being Black in nineteenth century America are examined, from discussions of their acting talents, to their daily lives working for white people, and reminiscences about their pasts in the West Indies. The play is balanced: the villainy of the manipulative Price is shown to be weaker than the enterprising spirit of the African Company, whose resilience against overwhelming setbacks is the same continuing spirit that led to the Civil Rights Movement.
I saw the play at the Darkhorse Theater, February 22, and it lasted around two hours, with a ten minute intermission. As a staged reading, this play had no props and a simple stage design: five chairs in a line centerstage facing the audience, and six stools in the back for the actors to seat themselves while their characters were off-stage. The actors wore simple costumes, possibly from their personal wardrobes, and they hit the sweet spot of looking generally “old fashioned” without being too time specific. There was no music, except for a drumbeat that would play during some monologues of inspiration or remembrance, and the only audio effect was that of a riotous crowd.
Each member of the cast did a good job, and the five members of the African Company had a good vibe. My two favorite actors were Pierre Johnson, who played Papa Shakespeare, a character which calls for both comic eccentricity and an air of profundity despite misfortune, and Brian Webb Russell, who played the villain (a deliberately faint reflection of Richard III) with a booming, contemptuous complacency.
Some of the aspects of the plot involving romantic tension occasionally felt a little flat, but that was more due to the limitations of a staged reading as a format than it was any deficiency of acting: tension between characters is less palpable when they must frequently look down at their scripts. Director Lawrence James has expressed his wish to do a fully staged production of The African Company Presents Richard III in the future, and I can only second his wish.
Jagged Little Pill Comes to Nashville
Jagged Little Pill is a musical based on Alanis Morissette’s world-changing music which premiered on Broadway in 2019 and received 15 Tony nominations. Directed by Tony Award winner Diane Paulus (Waitress, Pippin, 1776) with a Tony-winning book by Diablo Cody (Juno) and a Grammy-winning score, this production is about a perfectly imperfect American family. The family deals with addiction, sexual violence, gender identity, race, and marriage issues, and whether it’s possible to deal with these while maintaining the social status quo.
In an interview about this musical, Alanis Morissette said she had originally not been interested in making a jukebox musical, and had only been willing to “if there were to be a story told that would match and intertwine and feel married to the music… [in this musical] these songs have taken on a new life in a way that expanded what I even knew possible.”
To see the interview with Alanis Morissette and the creative team behind the Broadway musical: Creative Team Pop Up Panel | Jagged Little Pill
Jagged Little Pill will be at TPAC March 1-2. For tickets and more information: Jagged Little Pill | TPAC®
