Bereishit Dance at OZ Arts

Oz Arts Nashville presented Bereishit Dance Company’s internationally acclaimed works “Judo” (premiered in 2014), and “Balance and Imbalance” (premiered in 2010). Choreographed by the award-winning visionary, Soon-ho Park, Bereishit is known for their fusion of diverse movement styles, emphasizing human expression rooted in sound, physicality, and traditional practices. Initially the abstract nature of the pieces had me puzzled. I was intrigued, but unsure why, so I decided to let go and just experience. Abandoning the desire to immediately understand, I was able to find a deeper appreciation and understanding over time. Subtle ideas and nudges for further exploration were planted into my mind taking this approach.

Photo: Tiffany Bessire

My introduction to Judo as a martial art form was thorough Soon-ho Park’s interpretation. The piece followed a similar set up to traditional Judo practice. It started out slower, warming up the body, and then intensified overtime. This was even shown with the dancers setting up the mats as the starting point for the piece. The dancers, whom I would also consider elite athletes, balanced the heavy mats on their head and moved around with them gracefully. They laid them all down, except one, leaving an empty space open. This space was then filled with a dancer, almost becoming one with the mat. They had him moving slowly between the empty space on the floor as it and him kept being shifted about like a sliding tile puzzle. What started slow then steadily picked up pace.

The use of breath was an amazing addition to exemplify this intensity. It was embedded in the music as part of the Judo flow. It was hard work. The dancers were breathing heavily but harmonically after the intense section of the routine. You could literally see the sweat flying off of them during the show. It was an expression of human strength and mobility at its finest. The amount of intention and training it takes to move with such delicate strength inspired me. With Soon-Ho Park starting Bereishit Dance Company based on the exploration of the relationship between the human body, nature’s physical laws, people, and society, I am not surprised to see these connections. He took Judo and made it an expression of cultural values. In itself Judo is known for aiming not just to curate a strong body, but a strong and peaceful mind and harmonic relationships with others centered around friendship, respect, politeness, and honor. This piece ended with one man getting repeatedly knocked down in the center of the mat. He would get up, and then get knocked down again. This displayed courage, a moral code in Judo, and held a good takeaway for life, being the most important thing to do is to keep getting up.

Photo: Tiffany Bessire

While “Judo” explored strength and resilience through martial arts, “Balance and Imbalance” focused on the essence of human relationships. I enjoyed how the message being displayed between the two men at the beginning was that of harmony. The touch was caring and loving without being romantic. It showed me what I wish we had more of in American society, men being comfortable with one another on a deep level like that. It took great strength for them to interact with each other in the way they did, quite literally using tension, that of push and pulls to maintain shape within the connection.

I found this piece to showcase traditional values. It had more movements where the men were paired up with women and in general displayed how people can balance life through relying on each other. No person is always at 100% and what is missing from one can be aided by another. I saw the use of tension and release in this piece, where one would almost go limp and then allow themselves to be moved by the other dancer as a statement about the necessity of reliance on others. All of the movements in this piece required great trust among the dancers. The live music in this piece added a lot of emotion. It is called Samulnori, a genre of Korean percussion music which was created with the belief that the working together of its specific four instruments induced perfect harmony in yin and yang, making the music accessible for the gods to listen. They used a small gong to represent thunder and lightning, a large gong to represent wind, an hourglass shaped drum to represent rain, and a barrel drum to symbolize clouds. They combined Samulnori with Pansori, a genre of musical storytelling which was sung and spoken by Kim Eun-kyung. Her voice was lovely and she was able to move emotion with it due to her expressive storytelling.

Photo: Tiffany Bessire

Since all of the storytelling was in Korean, it made the piece more difficult to follow as I believe the story was a vital part of grasping the full meaning being portrayed through the combination of dance, chant, singing, and music. I still feel I got something from the piece, but the most impactful parts of it to me were where there was no voice and it was just the dancers. It did however spark an unexpected interest in me to learn Korean.  Making something that can cross cultures, getting someone with no deep knowledge of the other to now have a desire to learn more is very powerful. Soon-ho Park has this ability. He makes pieces that even those who may not be able to absorb the full intent of the piece, think more about his work.

The amount of skill and training it takes to move with such delicate strength displayed in both pieces inspired me. The next time I went to dance I caught myself building off of the flow of Judo especially. The piece teaches that intense and strong movements come from slow and intentional movement first. It starts out more playful before the focused training begins. I found this as a great way to get in tune with my body and explore movements with more feeling than I have done before. I will be keeping up with Soon-ho Park and his Bereishit Dance Company. It offered me a new experience which I feel I needed to take steps forward in my own life. Not only this but I had the pleasure of meeting Soon-ho Park at an artist exchange the Sunday prior to the show. His character is admirable and he spoke many things of value I will hold onto. His view of this world and the way in which he chooses to do art is something I wish to continue connecting to.

Sources

https://www.ijf.org/moralcode/judo-values/2061

https://cejsh.icm.edu.pl/cejsh/element/bwmeta1.element.desklight-2f73b3f0-0408-449a-962e-e2b75f05e449/c/Education_in_moral_values_of_JUDO_school_students.pdf

https://www.bereishitdance.com/cv

 

 

 

Hadestown: Orpheus and Eurydice in Nashville

Reworking ancient archetypes with new angles is perineally interesting; the Percy Jackson series has sold 180 million books, Madeline Miller’s Circe is a great popular read, and The Return is about to be followed by Christopher Nolan’s adaptation of The Odyssey. I went into this show with anticipation and was not disappointed. 

Anaïs Mitchell, a singer-songwriter, originally developed Hadestown as a musical, then adapted into the 2010 grammy nominated concept album. Finally, she adapted it into a Broadway musical, writing the music, lyrics, and book. In 2019 it premiered on Broadway and won 8 Tony awards. 

In the original story, Orpheus is the son of the muse of epic poetry and can charm everyone with his beautiful music. He marries the dryad Euridice but on their wedding day she’s bitten by a poisonous snake and dies. Devastated, he makes his way down into the underworld and, with his musical skill, convinces Hades to let him bring Euridice back into the world. Hades gives one caveat: Orpheus must lead her back up to the land of the living without looking back at her, for if he does, she’ll return to Hades. Orpheus leads her back up to the land of the living but, at the last moment, consumed with doubt that Hades tricked him, he looks back at his wife, who is brought back down to Hades. Filled with grief, Orpheus returns to the land of the living and plays music that causes even stones to weep.

Megan Colton – Eurydice

Hadestown alters this, introducing some environmental and political themes. Hades has been jealously shortening the time that his wife, Persephone, can spend above ground. Since her return is what causes spring and summer, this is ruining harvests and people are struggling in their unnecessarily hostile environment. While Orpheus spends his time writing a song that will cause everything to come back into balance, Eurydice is poverty-stricken, hungry and lonely. Hades convinces her to come down to Hadestown, his underground industrial headquarters. There are intertwined themes of economic and sexual seduction. She joins his industrially benumbed workers (they sing “you gotta keep your head low/if you wanna keep your head”). It reminded me slightly of Fritz Lang’s depiction of factory workers in his film Metropolis. Hades has a song about building a wall in the most politically transparent moment in the musical. The musical ends the same way the original story does, but what I found most surprising about this musical is the hopeful ending to the tragedy; they talk about how it’s sad, but it’s a song that they’ll keep singing, giving it a message of beauty and striving and stolen moments of joy despite darkness or even doom. 

Nickolaus Colon – Hades

The style of the musical is depression-era America; think O Brother, Where Art Thou? (loosely based on The Odyssey) except with original music. The set is simple, a rustic train station whose backdrop alters to change to the wall girding the Underworld. The lighting design is great, interacting with the choreography of mimed-mining of the downtrodden spirits when they dance with lights. The smoke and darkness is used to great effect when Orpheus is making his way with Euridyce following behind him.

It’s a gutsy choice to write music about and purportedly by the Western archetype of the inspired musician, especially in a sung-through musical. Happily for everyone, Mitchell delivers, providing beautiful melodies and rich vocal harmonies (especially with the Fates, who form a trio). The instrumentation is excellent, including strings, piano, accordion, and a trombone. The trombonist Haik Demirchian does a fantastic job, reminding me once again that live brass is incredibly satisfying. The songs I enjoyed most are weighted toward Eurydice’s character because of Megan Colton’s absolutely stunning performance. Her captivating voice had perfect control and clarity at every moment and felt as finished as a studio recording. I expect that this tour will soon be followed by even larger roles. Nickolaus Colón’s excellent bass performance made a marvelous Hades and I enjoyed his portrayal of the god of the Underworld. The night I attended (March 7) an understudy played Orpheus, so I can’t comment on the regular performer of the role, but Orpheus’s songs are very good.

Darius J. Manuel – Hermes

Another understudy performed that night, Darius J. Manuel, who played Hermes, who acts somewhat as a narrator. He was completely at home in the role, playing Hermes with such charm that the audience was immediately pulled into the show. Namisa Mdlalose Bizana as Persephone is the source of comedy in the show and is fantastic at it, singing, dancing, and with great comic physicality.

Namisa Mdlalose Bizana – Persephone

It’s not just the fact that I’m sleep-deprived and this was my first outing without a baby since giving birth a few weeks ago; this show and this cast are truly excellent. You should see Hadestown. While their brief run at TPAC is already over, they have multiple future stops on their tour that aren’t that far from Nashville. See HADESTOWN for more information.

Requiem For Color: A Journey Through Lament and Joy

The Sankofa

This program was nothing short of amazing. This body of work by Dr. Jeffery L. Ames showcases fluidity of visual and performing art. As walked into the Fisher Center for the Performing Arts, I noticed that the where black and white pieces of art by Steve Prince. In observing the pieces, I noticed I was on a journey that depicted various experiences of black people from their traumatic and tumultuous transatlantic journey. I saw the horror in their treatment and conversely, I saw how they didn’t allow their joy to be taken.

The symbolic image that is used for The Requiem of Colors is the Sankofa—“a mythical bird with its feet firmly planted forward and its head turned backwards to retrieve a precious egg.” (from the program notes) “The literal translation in the Twi language is “It is not taboo to fetch what is at risk of being left behind.””  The Sankofa’s brightly colored plumage of black, red, gold, and blue have their own symbolic meaning. These same colors were represented in lights on stage as the musician played and sang. This added a depth and breadth to the overall experience and the performance.

The program began with vibrant drumming, singing, and dancing. The opening depicted the West African celebrations. During the opening piece audience enjoys the West African dancing and drumming, flashing lights that a representative of the Sankofa, instrumental and vocal music.

Requiem for Colour 2025, Feburary 25th, 2025. Belmont University. Photo by Janelle Hagan.

Abruptly, the celebrates ends. The audience is disoriented with sounds of terror, screens depict turbulent sea, and red lights flashing. An English Horn solo of the spiritual Go Down Moses was beautifully played. This musical interlude symbolized the transatlantic journey that the enslaved took never to return home again.

Throughout The Requiem for Color there are many artistic intersections. The most prominent aspect that is portrayed throughout this body of work is the correlation between music of the African American diaspora and common choral pieces that are sung in Latin (as Kyrie, Dies Irae, and Angus Dei). As I was listening and reading the translations I realized that is correlation between the meaning of the Latin text and the experiences of the enslaved. Kyrie eleison translates to Lord have mercy. Dies irae, dies illa solvet saeclum in favilla translates to day of wrath, that say shall dissolve the world into embers. In exploring the infancy of my realization, came to appreciate Dr. Ames’ level of understanding and attention to detail in how he interpreted and expanded the concert spiritual. As the programs continues the audience is inundated with these types of intersections that is accented through the instrumentation, the choir, the orators, the projected images, and the soloists.

Requiem for Colour 2025, Feburary 25th, 2025. Belmont University. Photo by Janelle Hagan.

Both soloists were absolutely amazing. Their vocal range and versatility and allowed the audience to better understand the depth of the stories they were telling. Their softs kept the audience on the edge of their seats. Their forte shook the foundation of the building. Their presence of stage was captivating.

There were different types of spoken word. The orator spoke with conviction has they read the stories of the formerly enslaved. There was a hip-hop spoken word, and eloquently spoke about the current miscarriages of justice the African Americans face in today’s contemporary times.

This body of work is representative of different facet of black expression. The only critique I have is of myself. I wish we had sat further back to have a greater perspective of the show.

In a Country in Crisis, Paris Paloma Unites Women one concert at a time

This was an escape plan,

carefully timed it

so let me go

and dive into the waves below

The day was January 20, 2025. As temperatures in Washington fell near zero, tech oligarchs, career politicians, conservative think tankers, and a lone country singer gathered inside the Capitol Building. All laughed and cheered at what was to come. Once the clock struck noon, everyone—in the building, and in the country—held their breaths as a 78-year-old man held his right hand up and pledged to protect the United States of America. Not even a sunset passed before his promises proved themselves to be irreversibly destructive. A quarter of the country erupted in applause, while the rest of us, myself included, sighed in perceived defeat.

Tennessee’s 2024 Presidential Election results map.

Silence enveloped our people like a fog that never lifts. Our city, Nashville, remained a circle of silent, dauntless wishes surrounded by a sea of blood.

Though I’d long let go of my breath, I still found it difficult at times to catch it. I, along with countless other women, could barely speak as we watched history unfold in reverse. It’s easy to forget how to speak when one is struggling to breathe.

Then, on March 5, 2025, hope flew into Music City, bearing the name Paris Paloma. Hailing all the way from Britain, Paloma first gained traction on TikTok, where her dark, rich alto voice floated through her feminist anthem “Labour.” And with that, I realize many may stop reading here. Many may pass her up as another viral trend, that lives and dies all in a day. Many may hear the name TikTok and turn their noses, as if any artist that gains recognition through the platform is somehow inferior. Many may read the word “feminist” and avert their eyes to more blissful readings. But I beg to differ. And I beg you to stay, and read of the miracle she unfolded that cold, Wednesday Nashville night.

Paris Paloma at the Brooklyn Bowl

I’d heard of the Brooklyn Bowl before, but had never been myself. I walked into a surprisingly quaint but lively venue. No one bothered to search my bags or pockets, a first for me going to a concert. I walked down a long hallway, past bowling events, brick walls lined with posters of past and future performers. Of the posters hung, only Paris Paloma’s bore the words “sold out.” As I continued my walk to the stage, I could feel in my bones something magical was about to happen. And as I reached the crowd that had already packed themselves together like sardines, I knew despite the lack of security at the doors that there was no reason to fear for my safety. Everyone in attendance was warm, welcoming, and just as excited as I was for what was to come. Many wore costumes similar to Paloma’s aesthetic, fairy wings and leaf halos. It was the first concert I’d ever attended where the audience consisted overwhelmingly of women and nonbinary people. The few men I could see in attendance were there to accompany their partners or children. My sense of ease increased twofold.

After the opening act of Sara Julia, a folk-pop sister duo from Amsterdam, the crowd roared when the lights darkened and Paloma took the stage. Adorned in black pants and a white rose top, her voice floated even brighter and higher in person; recordings simply don’t do her voice justice. She opened with “my mind (now),” from her debut album Cacaphony, where her voice lilted over prerecorded harmonizations:

I knew you had a temper, 

but I guess I thought I was immune

 I felt it as you severed my mind

 tore it all the way through

And I was strawberry picking

 you were gathering ammunition to use

 and the shrapnel digs in,

my mind has not been silent since you 

I could feel her singing not just from her heart, but every woman’s heart in the venue. I squeezed into a small vacancy on the walkway, ensuring space behind me remained for those to pass by. Women my age sang along to my left, while a man stood silently, in what I could only hope was solidarity, to my right. The truth still stands: I’d never felt safer at a concert venue, places notorious for violence against women. Here, Paris Paloma didn’t hide it, she openly sang of its destruction through many of her songs. Before her title “last woman on earth,”

Paris Paloma

she spoke of herself not feeling safe to walk alone at night, answered with the cheers of sympathy from the crowd. The man next to me continued his silence; I could only hope her words resonated with him. And it was then I realized Paloma wasn’t just performing, she was conducting. All of us—men, women, nonbinary people alike—were treading rough waters, wakes of misogyny, and together we were the call and answer in her symphony. “Nothing is more powerful than community,” she preached to us, “especially in times like this, in this country.” And what better a place to foster a community, than through conducting her own cacaphony?

Throughout the concert, Paloma’s voice remained deceptively lighthearted. Like a woodland fairy, she sang over tunes “hunter,” “as good as reason,” “the fruits,” “bones on the beach,” “escape pod,” and more. Without closely listening, one could easily assume her simply telling gentle stories, but each song punched with its words: a push to form community among women, a plea for help, a dream for a better place, a floodlight on physical abuse. The almost ghostly nature of her songs lingers long after the last note. Each lyric buried itself deep within my bones, and despite being dressed in a parka, I found myself shivering.

The finale came with her most famous song, “labour,” written over two years before the results of the November 5, 2024 election. Much like classical composers, Paloma saved her strongest punch for the last minutes. Hailed as a feminist anthem, “labour” erupted the crowd with a second wind of screaming and singing. Screaming along, I realized perhaps the two are one in the same.

All day every day

therapist, mother, maid

nymph, then a virgin

nurse, then a servant

just an appendage

live to attend him

so that he never lifts a finger

24/7 baby machine

so he can live out

his picket fence dreams

it’s not an act of love if you make her

you make me do too much labour

In each verse, I could hear what I’d never heard. The gentle yodel my grandmother would use to beckon my

Paris Paloma in Nashville

mother home. The footsteps of my great-grandparents, demanding equality. The fastening of my great-grandmother’s scarf, as she walked out her family’s door to go vote for the first time at 39 years of age. The sound of a pen, writing Title IX into law, and the sound of another unwriting Roe v. Wade. My blood boiled with an ancestral rage and determination I’d never fully grasped before.

Even after the song finished, and Paloma left the stage, I realized she never put down her baton. Of all the messages woven into sound that night, “Labour” proved itself the strongest, most deceitful of them all. We never finish our labour, just like she will have another show to conduct. For us, the curtains never close. We can’t put down our womanhood at the end of the day. We carry it with us, and with that, we carry the power of the dozens of generations before us, fighting for equality. Our power lies in our art, our voices, and our community.

Being a part of Paris Paloma’s symphony brought to light the work for our rights has never been laid to rest, and the fight continues with our power. If we are to stop this administration from erasing our footsteps, breaking our pens, muting our words, we have to use our voices.

I’ve found mine. Will you find yours?

Down at MTSU

2025 String Band Summit Showcases Fiddling Traditions of The Americas

Returning to historic Hinton Hall at Middle Tennessee State University, the place I have seen the most live performances in my life, was a thrill for me since it had been many years, and I knew very little about the type of concert the String Band Summit would be presenting. Floodlights lit up the parking lot of MTSU’s School of Music and packed the lot as I looked for my old parking spot. Although this was because of the crowd from a baseball game and it was the stadium lights spilling onto the sidewalk, I was full of excitement for our own event which featured world-class talent and international artists.

For the second consecutive year, MTSU and the Center for Popular Music were hosts of the String Band Summit, a 3-day conference featuring scholars, musicians, and students engaged in various global string band music styles and traditions. The summit included workshops and lectures, paper presentations and demonstrations, and the showcase concert which was free to the general public.

I typically settle into my seat and peruse program notes, but for this event I had only the performer’s names on a flyer. Although I had no clear idea how the night’s music would be presented, I understood that the musicians would be selecting from their repertoire what they consider worthy of being in a showcase. I was sure we as an audience would be convinced that these groups represent their respective string band music traditions at the highest level.

My background in classical guitar enables a curiosity for world music because, through guitar, I studied cultural traditions, instrument technique, and various regional musical styles. Anything guitar-adjacent from around the globe that I can experience in live performance excites me. I anticipated this concert having some unexpected and unpredictable performance aspects that would make it memorable and enjoyable. It was the kind of concert where small moments bring the audience together and the feeling of connectedness gives the music an extra dimension. In each of the four acts, the musicians were able to connect in meaningful, unique ways to convey their passion for what they were sharing.

Sotavento

The first artist enthusiastically shared their expertise and desire to connect with us as an audience. Sotavento, a duo of violin and guitar, opened the night with Latin American musical repertoire from Mexico to the tip of Chile. Traditional Peruvian song, Bambuco rhythms, and the Argentine folk dance chacarera y gato were all performed with poise and inspiration by Raquel Paraiso and Francisco “Pancho” Lopez. Paraiso has a classical violin background and has been playing in various forms of Sotavento since 1981 with Lopez, who is a medical physicist and accomplished guitarist. He accompanied the melodies with a distinctive percussive strumming that created a mesmerizing mix of string sounds. Leading the charge was the virtuosity of Paraiso’s fiddling. The range, from spicy, intense playing to a danza with a romantic turn, was all there. After the most lyrical of the songs finished, we, the audience, were all in agreement when she asked, “Did you feel that?” For the finale, Pancho completely surprised us by grabbing his guitar case for the last song and hand drumming on the top!

Fire of Tierra Caliente

The next act, Fire of Tierra Caliente, presented music from Mexico’s Tierra Caliente region as a quartet of two violins and two guitars. The combined forces of Paraiso and Lopez with violin extraordinaire Paul Anastasio, and expert in guitar styles from the region Tina Pilione, elevated the arrangements of the tunes. A focus on virtuosic violin music in this showcase was becoming clear as these songs were presented. Anastasio and Pilione both studied with Juan Reynoso, a master fiddler of the traditional songs from his homeland of the Tierra Caliente. Anastasio dedicated thousands of hours to recording this music in order for it to continue to reach and impact fiddlers in the same way it did for him. The song “En Gusto”, featuring Pilione singing, was a demonstration of a style where brief choruses interchange with violin melodies continuously until the moment when the violin decides it is the end. A pasa doblé was introduced as a piece written for a revolutionary during the time of the Mexican Revolution. It was a lyrical, evolving into epic, song that made a fitting ending to the set.

A musician from our own backyard was the next to present his skills. Trenton “Tater” Caruthers is a fiddler from the Cumberland Plateau area of Tennessee and knowledgeable of the deep musical traditions of the region. He and guitarist Jordan Judkins walked on stage in stark white shirts with denim overalls and wide brimmed hats. They played tune after tune, each with a brief introduction and occasional quip, and I started to smile when the thought came to me that when you hear Tater play you know the difference between fiddle and violin. The reaction of the audience was very warm and lighthearted as well. We were treated to versions of “Bed Bug Blues,” “Flower from the Fields of Alabama,” “Peas in the Pot,” and more. The last tune, “Sequatchie Valley,” was one I enjoyed while closing my eyes and picturing the scenery I have visited in that area near Chattanooga. As I imagined looking down at a distant train following tracks along a mountainside, Tater played double stop horn sounds and twisting and racing fiddle to detail the scene. This song and others are found on the album Tennessee Breakdown from Spring Fed Records, a label specializing in traditional music of the South.

Trio Canto a Mi Tierra

The final performance was Trio Canto a Mi Tierra, a string band from Veracruz, Mexico that plays music of the Huasteca region. They performed son huasteco, a regional style of dance and music that featured violin from son huasteco master Don Victor Ramirez and a beautiful, piercing style of singing from Osiris Caballero and Valente Gomez. The huapango rhythms are essential to this trio music and were played on jarana (a small, 5-string guitar) and quinta (a deep-bodied guitar with 5 courses) by Caballero and Gomez. These instruments plowed on at incredible speeds and wove amazing percussive and musical sounds. While dazzling the audience with the performance, the trio were ornately dressed in orange and white patterned shirts with fringe on the sleeves, and white cowboy hats on their heads. Sparkling inlays on the beautiful jarana and quinta built by Gomez also contributed to the appearance of the outstanding performance. I noticed the similarity in form between some of the songs from the Tierra Caliente and the Huasteca where the virtuosic violin part trades back and forth with the singer. This interaction always seems to create a bubbling up, having a chorus build tension that the flurry of violin notes help release. That excitement was fitting for a finale performance and my reaction to it was a big smile and applause. It was clear everyone else in attendance (around 50 plus) enjoyed it just as much.

Each set of music presented that night proved that the artist’s endeavors of preserving the music so that it can be heard by audiences is worthwhile. Although the concert hall is not necessarily the intended setting for these songs, the performers did well to play as if we were the same as a community gathered for some festive reason (I did not witness any dancing in our audience.) The musical traditions represented in the concert are something that may fade away if not for the passion and dedication of these scholars and musicians. That is clear in Paul Anastasio’s investment in the music from the Tierra Caliente, as well as the others. I am sure we all enjoy forms of art that were created long ago, and it inspires me to want to share my own interests so that they continue to be appreciated.

The Nashville Symphony

Segev, Slatkin, and Adamo at the Schermerhorn

It’s a special occasion when I get to see one of my favorite soloists and one of my favorite masterworks on the same program, especially when directed by a world-renowned conductor. You can imagine, then, that Tchaikovsky’s Fifth at the Nashville Symphony, featuring cellist Inbal Segev and directed by Leonard Slatkin, had been on my calendar for weeks. The program had a Friday night concert on February 28 and a Sunday matinee concert on March 2. The Nashville Symphony and its esteemed guest artists delivered a colorful and virtuosic program that truly had something for everyone.

The program opened with the overture to Gioachino Rossini’s opera La Gazza Ladra, a mostly humorous opera that also has serious themes of strife and justice. From the very first chord, it was clear that Maestro Slatkin commanded immediate attention and energy from the players. His gesture was reserved yet efficient, and the sound he drew out of the ensemble was beautifully well-balanced. I have always observed that there is a distinct quality of sound that comes from an ensemble that highly respects its director. In this case, that quality lent even greater polish to the sparkle and smoothness of this Italian opera music. With unwavering precision and exceptional clarity, this overture set the tone for the rest of the concert, and the audience was hooked.

Leonard Slatkin (photo: Cindy McTee)

After the stage setup was adjusted to make room for the soloist, Maestro Slatkin returned to the stage and welcomed Mark Adamo, the composer of the next work, to join him. The pair spoke briefly to the audience about Last Year, Adamo’s 2019 work for solo cello, strings, piano, percussion, and harp. Mr. Adamo enthusiastically explained that the piece is loosely inspired by Vivaldi’s Four Seasons for solo violin and strings, and he even quotes the well-known theme from the first movement of Vivaldi “Spring” throughout Last Year. He composed it with an eye on climate change and how different our seasons can look in the modern day (more in-depth program notes are available on Mark Adamo’s website). Each of its four movements represents a season, and the addition of piano, percussion, and harp is intended to expand upon the timbral and textural role of a harpsichord in a baroque ensemble’s sound. After this cordial introduction, composer and conductor took their places, and the audience gave a warm welcome to the soloist, Inbal Segev.

Inbal Segev (Photo: Bri Elledge)

Fans of Inbal Segev like myself know her for both her dedication to classical works and her enthusiasm for new ones. She has enjoyed great success in presenting works by living composers, and she has been composing her own music since 2020 as well. She presented Adamo’s striking music with spirit and tenacity, expressing the emotions of the music with not only her rich sound but also with her posture and facial expressions. It was a thought-provoking mural of sound. The solo part was dizzyingly virtuosic, and Segev navigated her cello’s entire fingerboard with unfazed technical command. I could guess which patrons around me were fellow cellists by the palpable shock brought on by well-executed difficult passages. All four movements exhibit a huge palette of tones and textures—harsh dissonances and harmonics represented ice storms, and luxurious streams of flowing chords brought the warmth of summer.

It was a beautiful presentation of a profound piece of music, and when the lights came up for intermission, I saw people finding Mr. Adamo in the audience, thanking him and shaking his hand.

Mark Adamo (Photo: Daniel Welch)

Tchaikovsky’s Symphony No. 5 in E Minor is a work I have played before and love deeply, and I could hardly wait for intermission to end. I’m sure I wasn’t the only one in attendance who anticipated the downbeat with bated breath, nor the only one who relished every moment of the performance. The intricate weaving of the string parts was full, lush, and precise. The brass section delivered a strong, shining group sound with impeccable blend. Every woodwind feature and solo line held attention as beautifully-crafted focal point in the larger picture. The orchestra moved and breathed like one player, completely in agreement not only with each other but also with their director. I was particularly impressed with the ensemble’s control of tempo and pacing. Some of Slatkin’s tempos and choices of rubato differed from recordings I have heard, providing some interpretive choices that were unique and fresh. It is a powerful thing when an orchestra is so clearly convinced by the direction they receive and can convey it just as clearly to the audience.

This symphony is a colorful tapestry of tone colors and emotions. The first movement’s slow opening is cloudy and introspective, and it maintains an air of severity even when the tempo picks up. The second movement is immediately more warm and gentle, opening with a soaring French horn solo. It has moments of fearful intensity, but the French horn melody always returns across the orchestra to comfort the listener. The third movement is a graceful and playful waltz that has always reminded me poignantly of Tchaikovsky’s programmatic writing in the first act of his ballet The Nutcracker. The fourth and final movement immediately asserts a restatement of the first movement’s opening theme, but this time in the key of E Major. It is triumphant and bright to the brilliant end. The orchestra looked exhilarated as they stood, and the audience roared its approval through three bows.

Huge congratulations are in order to Leonard Slatkin, Inbal Segev, Mark Adamo, and every member of the Nashville Symphony. Bravissimo tutti on an exceptional concert!

This Weekend: Hadestown

Welcome to Hadestown, where a song can change your fate. Winner of eight 2019 Tony Awards and the 2020 Grammy Award for Best Musical Theater Album, this acclaimed new show from celebrated singer-songwriter Anaïs Mitchell and original director Rachel Chavkin is a love story for today… and always. Hadestown intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love in a haunting and hopeful theatrical experience that grabs you and never lets go.

Hadestown will be at TPAC’s Jackson Hall March 7-9. For tickets, see Hadestown | Tennessee Performing Arts Center, and for more information about the tour, see HADESTOWN.

The Jazz Beat

The Jazz Beat, March, 2025


Hello, all, and welcome back to this regular column here at Music City Review. Here, we will update you with the most can’t-miss jazz events happening in Music City, so you can be sure to catch all your favorites, as well as discover new ones along the way. Get out there and support your local musicians and keep Music City thriving! We are always looking to promote great music that may not get the attention it deserves. Have an event you think should be included in the next issue? Email me at: JazzBeat@musiccityreview.com

This Month’s Highlights

Here are the performances this month that I have picked out as really special, ones you won’t be able to catch any day of the week. They span across Nashville’s many great jazz venues and offer something of interest for everyone.

 

The Crescent City Hoodoo All-Stars Mardi Gras Celebration (2 shows) – Tuesday, March 4 – 6:00 PM & 9:00 PM ($20) (Rudy’s)

A rare occurrence at Rudy’s, the Room is open on a Tuesday night to celebrate Mardi Gras, embracing the club’s Cajun lineage. In addition to drink specials and authentic New Orleans cuisine, special six-piece brass band will be performing, with two chances to catch the show. Led by pianist/vocalist Chris Walters, the band features Brook Sutton on bass, Roy Agee on trombone, Chris West on saxophone, Andrew Carney on trumpet, and Josh Hunt on drums.

 

Dee Dee Bridgewater & Bill Charlap – Sunday, March 9 – 7:30 PM (Schermerhorn Symphony Center)

Two of the leading figures in today’s jazz scene come to the Schermerhorn stage. Dee Dee Bridgewater is a Grammy and Tony Award-winning jazz vocalist who puts her own unique spin on standards and jazz classics. Bill Charlap is one of today’s leading jazz pianists. Together, they form an intimate duo with a classic jazz sound.

 

Guitar & B3 Night ft. Bob Sabellico & Kyle Lehning – Friday, March 14 – 5:30 PM ($14) (Rudy’s)

An all-star band celebrates one of jazz’s most enduring formats, the organ trio. With three men who have a combined career of nearly a century, guitarist Bob Sabellico, keyboardist Kyle Lehning, and drummer Raymond Massey all have a wide base of experience touring with artists like The Guess Who, Randy Travis, Kenny Rogers, and many more.

 

Trombone Shorty & Orleans Avenue – Saturday, March 15 – 8:00 PM (Ryman Auditorium) ($40-55)

Superstar NOLA trombonist and bandleader Trombone Shorty comes to the iconic Ryman stage with his band. Born Troy Andrews, he has been entrenched in music practically since he was born, performing with the legendary Bo Diddley at Jazz Fest at the age of four, leading his own brass band at six, and the music has never stopped since. If you love classic New Orleans jazz sounds, this show is for you. Opening for the band is Tank and the Bangas, another band which, although more on the R&B/Soul/Funk side of things, I think will still be of much interest to jazz audiences.

 

Sandra Dudley Presents “Sing, Sing, Sing: A Vocal Tribute to the Ladies of Jazz” – Saturday, March 22 – 7:30 PM ($35) (NJW)

In honor of Women’s History Month, beloved Nashville vocalist and educator Sandra Dudley presents a special concert celebrating some of jazz’s most legendary women, including Sarah Vaughan, Carmen McRae, and Ella Fitzgerald.

 

Los Amigos Invisibles – Sunday, March 23 – 8:00 PM (The Basement East) ($45+)

Of particular interest to our Spanish-speaking jazz-loving community, Venezuelan band Los Amigos Invisibles is stopping by one of my favorite venues, The Basement East. Playing an electric mix of disco, acid jazz, and funk mixed with Latin rhythms, since 1991 this band has brought their explosive live shows all around the world, touring more than 60 countries.

 

Mark Guiliana – Thursday, March 27 – 8:00 PM (The Blue Room) ($35)

Virtuoso Mark Guiliana is a Grammy-nominated drummer and composer “around whom a cult of admiration has formed” (New York Times). He has shown himself to be extremely skilled across many genres, from acoustic jazz to progressive electronic music to rock, and has been a key collaborator with big names such as St. Vincent, Brad Mehldau, and even David Bowie. He now presents his first entirely solo work, ‘MARK’, showcasing his brilliant composing and ability to perform and layer percussion, piano, synthesizers, and more.

 

The Sofia Goodman Trio: “A Tribute to Women Composers in Jazz” – Saturday, March 29 – 7:30 PM ($35) (NJW)

Continuing with the celebration of women in jazz, percussionist Sofia Goodman presents her own concert, this time honoring women composers including Esperanza Spalding, Emily Remmler, and Alice Coltrane. Her band will feature Goodman on drumset, Matt Twaddle on piano, and Leland Nelson on bass.

 

What the World Needs Now: The Bacharach Songbook Live – Monday, March 31 – 7:00 PM (Ryman Auditorium) ($35-80)

While not exactly jazz, the classic pop tunes of Burt Bacharach certainly blur the lines between genres. This special act has been touring the country celebrating the music of the legendary songwriter. Featuring a nine-piece ensemble led by longtime Bacharach music director and arranger Rob Shirakbari, the act also boasts superstar singer Todd Rundgren as well as Wendy Moten, former contestant on The Voice, who has made appearances in this newsletter before.


Analog at Hutton Hotel

 

Analog Soul (multiple shows) – Sundays, March 2, 9, & 16 – 7:00 PM (Free GA / $20 reserved seating)

The Analog continues its Analog Soul series, featuring some of the city’s most promising emerging talent who are redefining soul music. All shows feature Will Davenport and select other artists. These shows are 21+.

 

Sarah Aili – Monday, March 31 – 7:00 PM ($10-25)

Artist Sarah Aili excels in many mediums, and is known for her work in music, theater, and storytelling. She was recognized by the Nashville Scene as one of the city’s top actors for her roles in Waitress and Innocent with Nashville Rep. She continues to delve into new and different creative projects, and this month at the Analog she presents a night of original songs, timeless American Songbook classics, and unexpected covers.  


 

 

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

 

Chrissi Poland, Oz Noy, Dave Weckl – Tuesday, March 11 – 7:30 PM ($25-45)

Three of the biggest names in jazz and progressive music join forces at City Winery. Chrissi Poland is a powerhouse vocalist known for her emotive and heartfelt style combining jazz, soul, and pop influences. Oz Noy is one of the most celebrated guitarists in the modern scene, known for his innovations in the guitar world. He has collaborated with artists like Mike Stern, Eric Johnson, John Patitucci, and more. Dave Weckl is a world-renowned drummer who is perhaps most known for his work as a member of Chick Corea’s Elektric Band. They will also be accompanied by bassist James Genus.

 

Madeline Peyroux – Friday, March 28 – 7:30 PM ($65-95)

American jazz singer and songwriter Peyroux actually began her career on the streets of Paris, singing classical American blues and jazz songs. Her music interweaves jazz, blues, folk, and pop, and she isn’t afraid to speak her mind, with themes ranging from the observational to the political.

 

Cyrille Aimée – Saturday, March 29 – 7:30 PM ($30-55)

French jazz singer Cyrille Aimée comes to the Winery stage. She has a long discography going back to 2006, and her most recent album “a Fleur de Peau’ was nominated for a Grammy in the Best Traditional Pop Vocal Album category. She was won numerous vocal competitions, including the Montreux Jazz Festival Competition in 2007 and the Sarah Vaughan International Jazz Vocal Competition in 2012.    


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

 

Piper Jones – Saturday, March 1 – 7:30 PM ($35)

Acclaimed vocalist and Nashville native Piper Jones returns to the Cave after a powerful performance there last summer. Mixing blues, jazz, and R&B, Jones has a soulful voice that is sure to enchant. Her band will feature Alex Murphy on piano, Jack Aylor on bass, and Christian Kyle Burgs on drums.

 

Kevin Whalum – Friday, March 7 – 7:30 PM ($35)

Another vocalist and Tennessee native, this time from Memphis, returns to Nashville for one night only for a performance at the Cave. The younger brother of renowned saxophonist Kirk Whalum, Kevin has had music in his life his entire life. Since his breakthrough in 1997, Whalum has toured and recorded continuously, and his talent has caught the attention of industry legends such as keyboardist George Duke, who described Whalum’s voice as “butter.”

 

Jovan Quallo Presents A Tribute to Kenny Garrett – Friday, March 14 – 7:30 PM ($35)

Acclaimed saxophonist Jovan Quallo presents a special tribute to one of jazz’s most influential sax-men, Kenny Garret, renowned for his fiery tone and groundbreaking compositions, Garrett has left a mark on every jazz saxophonist, and Quallo is no exception. Join him as he pays tribute to this legend of the genre!

 

The Lori Mechem Quartet Residency – Saturday, March 15 – 7:30 PM ($35)

Nashville legend Lori Mechem presents the first installment of her 2025 residency at the Cave, in celebration of 30 years playing together with her quartet. This band has recorded three albums together, as well as backed up artsits like Pete Christlieb, Jeff Hall, Donna McElroy, and more.

 

Sandra Dudley Presents “Sing, Sing, Sing: A Vocal Tribute to the Ladies of Jazz” – detailed above

 

The Sofia Goodman Trio: “A Tribute to Women Composers in Jazz” – detailed above

 

Community Events

Dee Dee Bridgewater & Bill Charlap at the Schermerhorn Symphony Center – detailed above


Rudy’s Jazz Room

And now we move on to Nashville’s premier jazz club, with its cozy, intimate setting. I’ll start with some of the unique highlights for this month, then follow up with the great regular acts performing. Please note that some shows are one dollar cheaper if you purchase advance tickets. I have listed the door price for all shows.

 

Rudy’s Highlights

Below are the performances for this month that I’ve picked out as the real can’t-miss shows, some featuring touring artists from out of state, others featuring local artists giving specialized, unique performances.

 

Ryan Devlin’s “Side Step” – Saturday, March 1 – 8:00 PM ($22)

Boston-based saxophonist and educator Ryan Devlin returns to the Rudy’s stage with his band Side Step. The band features Jordan Learner on saxophone, Ian Ashby on bass, and Ryan Barski on drums.

 

Justyna & The Renaissance Men – Monday, March 3 – 6:00 PM ($14)

The eclectic and diverse members of this band combine around a love of foreign languages to offer a unique sound.  Vocalist Justyna Kelley, daughter of country and bluegrass artist Irene Kelley, Giovanni Rodriguez, Dominican multi-instrumentalist who grew up abroad, Jerome Degey, guitarist originally from Paris and with a wide knowledge of Latin cultures, Gianluca Magalotti, multi-genre bassist from Rome, Italy, and Will Barrow, pianist from Gainesville, Florida who has traveled the world with his music, form this highly original band.

 

The Crescent City Hoodoo All-Stars Mardi Gras Celebration (2 shows) – detailed above

 

SINdustry Night w/ the Rougarou Brass Band – Thursday, March 6 – 9:00 PM ($15)

Featuring six-piece Rougarou Brass Band, those in the service industry (and proof of employment in the industry) get a ticket discount into Rudy’s on this night, which will also feature Freezer Sazerac drink specials and authentic New Orleans eats.

 

Ellisa Sun – Friday, March 7 – 5:30 PM ($15)

Guitarist Ellisa Sun returns to the Rudy’s stage. Originally from LA, Sun has toured extensively and her music has been featured in television programs like “LA’s Finest” (Sony Pictures), “Dollface” (Hulu), and “Kung Fu” (CW).

 

Jonathan Scales Fourchestra – Friday, March 7 – 8:00 PM ($25)

Hailed as one of the most innovative steel pannists the world over, Jonathan Scales has spent his career redefining the expectations of his instrument. Presenting compositions that are complex and difficult yet accessible and danceable, Scales and his trio of top-notch performers offer a truly unique experience.

 

Shaun Munday – Saturday, March 8 – 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.

 

Alyssa Allgood Quartet – Saturday, March 8 – 8:00 PM ($23)

Vocalist Alyssa Allgood was named a “Rising Star Female Vocalist” in the 2024 Downbeat Magazine Critics Poll. She just released an album last year title “From Here,” featuring a collection of original music recorded with acclaimed musicians Geoffrey Keezer, John Patitucci, Kendrick Scott, and Greg Ward. Her band for this performance will feature Jon Cowherd on piano, Jimmy Sullivan on bass, and Mark Raudabaugh on drums.

 

Jake Botts and Friends – Sunday, March 9 – 6:00 PM ($15)

Saxophonist Jake Botts has made quite the name for himself in the jazz scene, both in New York and right here in Music City. Originally from San Francisco, Botts cut his teeth in NYC, graduating from the New School for Jazz and Contemporary Music. He has recorded or performed/toured with a long list of some of the industry’s biggest names, including the Black Keys, Kelly Clarkson, Cory Wong, John Legend, Victor Wooten, and many more.

 

CONCURRENCE Presents Nashmatikz (a live Hip Hop experience) – Thursday, March 13 – 9:00 PM ($15)

CONCURRENCE returns for a one-night-only show, an experience they call Nashmatikz, a live Hip Hop experience. Complete with b-boy dancers, and turntables, elements of hip hop, electronica, and even swing are represented here. This show will feature Paul Horton (piano, samples), Greg Bryant (bass), Willie B (drums), Rashad thaPoet (emcee), DJ Colonel Austin (turntbables), and Nashville-based dance crew Music City Soul, as well as other special guests.

 

CONCURRENCE (2 shows) – Friday, March 14 & Saturday, March 15 – 8:00 PM ($25)

The highly-praised CONCURRENCE returns in their traditional format for two shows, each with special guests. The regular band consists of Paul Horton on piano and samples, and Greg Bryant on bass. The Friday show will feature Nate Smith on drums, and the Saturday show will feature Marcus Finnie on drums and Steve Pardo on sax.

 

Guitar & B3 Night ft. Bob Sabellico & Kyle Lehning – Friday, March 14 – detailed above

Brutal Hymn – Friday, March 14 – 11:00 PM ($12) Three of Nashville’s most impressive and experimental improvisers join together to form Brutal Hymn, consisting of Jayve Montgomery (flute/sax/bass clarinet), Randy Hunt (bass), and John Westberry (drums).

 

Jerome Degey Trio – Saturday, March 15 – 11:00 PM ($10)

Degey is a Nashville-based guitarist originally from Paris, France. His family heritage also features Afro-Caribbean roots, and together with his longtime interest and study of Brazilian culture, these influences create a rather unique musical blend. His trio features Charles Treadway on organs and Nioshi Jackson on drums.

 

“Disney Songs Reimagined” w/ the Miles Damaso Quartet – Thursday, March 20 – 9:00 PM ($15)

Percussionist, educator, and composer-arranger Miles Damaso leads his quartet in a special performance featuring unique arrangements of some of the best-loved Disney songs. The band features Don Aliquo on sax, Pat Coil on piano, and Leland Nelson on bass.

 

Ladies of Jazz – Friday, March 21 – 5:30 PM ($18)

Another Ladies of Jazz show at Rudy’s, featuring an excellent lineup of Nashville women, including Wendy Burns, jazz flutist and vocalist, and fellow vocalists Brooke Bryant and Johnnie Baltimore.

 

Pascal Le Boeuf’s “Ritual Being” Jazz + Classical Ensemble – Friday, March 21 – 8:00 PM ($25)

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 Eli Ibrahim Trio – Friday, March 21 – 11:00 PM ($10)

A trio consisting of Vanderbilt music students, the group is led by pianist Eli Ibrahim and features Ian Nussdorfer on bass and Nick Pacella on drums.

 

Rebecca Carlson – Thursday, March 27 – 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.

 

Abigail Flowers: Celebrating Women in Jazz – Friday, March 28 – 5:30 PM ($15)

As part of Women’s History Month, one of Nashville’s most beloved jazz vocalists Abigail Flowers presents a special concert celebrating the women of jazz. Known for her ability to sing in multiple languages, including Spanish, Portuguese, French, Italian, and Hawaiian, Flowers has teamed up with longtime collaborator Katie Blomarz-Kimball for his performance, presenting a mix of classic standards, original tunes, and innovative arrangements of contemporary songs.

 

Alec Newnam Quartet – Friday, March 28 – 11:00 PM ($10)

Bassist Alec Newnam brings his quartet back to Rudy’s, featuring Kevin Gatzke on tenor sax, Bill Alexson on piano, and Nate Felty on drums.

 

Greg Bryant Expansion – Saturday, March 29 – 8:00 PM ($26)

Bassist and broadcaster Greg Bryant leads his band featuring Jonathan Rogerson on guitar, David M. Rogers on piano, Willie B. on drums, and special guests. Since beginning his career in the early 2000’s, Bryant has recorded or performed with artists like Irma Thomas, Robert Walter, Eric Krasno, Charlie Hunter, and more.

 

The Jose Gobbo Trio ft. Don Aliquo – Saturday, March 29 – 11:00 PM ($12)

Jose Gobbo is a Brazilian jazz guitarist now based in Illinois. He has performed all over the US and been featured as a guest artist at a number of prominent universities. His trio with Jacob Jezioro on bass and Marc Widenhofer on drums will perform with special guest Don Aliquo on sax.

 

Kelli Cox Collaborative – Sunday, March 30 – 6:00 PM ($15)

Standout Nashville pianist Kelli Cox returns to Rudy’s with a special sextet configuration of her band, featuring Steve Herman, Greg Cox, Dan Hitchcock, Chris Autry, and Chris Brown. Cox has been performing professionally since she was fifteen, and has made herself a Nashville staple.

 

Rudy’s Regulars

 

Pat Coil Quartet – Saturday, March 1 – 5:30 PM ($15)

All-star Nashville pianist Pat Coil returns with a special configuration of his quartet format, featuring Don Aliquo on sax, Rob Linton on bass, and Marc Widenhofer on drums. As you all probably know by now, Coil is a highly in-demand pianist in Nashville and just about everywhere else, having toured extensively both nationally and internationally.

 

Don Aliquo (multiple performances)

One of Nashville’s most active and accomplished saxophonists, Aliquo will be leading performances several times this month, both in trio and quintet format. Don Aliquo Trio – Saturdays, March 1 & 8 – 11:00 PM ($10) Don Aliquo Quintet – Saturday, March 22 – 5:30 PM ($15) This quintet format will feature Roger Bissell (trombone), Ted Wilson (piano), Jacob Jezioro (bass), and Larry Aberman (drums).

 

Sully’s Swingin’ Sunday Supper – Sundays, March 2 & 16 – 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.

 

Viktor Krauss – Wednesday, March 5 – 6:00 PM ($12)

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.

 

Geoff Pfeifer Quartet (2 shows) – Friday, March 7 & Saturday, March 22 – 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.

 

Re-Evolution – Mondays, March 10, 17, & 24 – 6:00 PM ($12)

This five-piece band is heavily influenced by classic jazz cutting-edge artists like Thelonius Monk, Wes Montgomery, John Coltrane, Bill Evans, and more. The band consists of Brian Cornish on saxophone, Regi Wooten on bass, Daryl Johnson on drums, Adam Charney on guitar and Alex Murphy on piano.

 

Dana Robbins Quintet – Wednesday, March 12 – 6:00 PM ($12)

GRAMMY-winning saxophonist Dana Robbins pays tribute to the Soul Jazz sound of the late 60’s and early 70’s, celebrating artists such as Les McCann, Eddie Harris, Jimmy Smith, and more. Robbins has either recorded or performed with many artists, including Keb’ Mo’, Aretha Franklin, Taj Mahal, Keith Urban, and more. Her band features David Santos (bass), Wes Little (drums), Phil Hughley (guitar), and Darius Mines (piano/B3 organ).

 

Jody Nardone Trio (2 shows) – Saturday, March 15 – 5:30 PM ($17) & Saturday, March 22 – 8:00 PM ($22)

Prominent Nashville pianist Jody Nardone brings his trio to Rudy’s for a classic jazz set. With a growing national reputation, Nardone seamlessly shifts from the “whispered beauty of Bill Evans to the percussive flights of McCoy Tyner.” (Michael McCall, Nashville Scene)

 

Bizz Bigsby – Wednesday, March 19 – 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.

 

Stephanie Adlington – Sunday, March 23 – 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.

 

PT Gazell & The Side Effects – Wednesday, March 26 – 6:00 PM ($10)

Jazz harmonica player PT Gazell brings his band back to the Rudy’s stage.

 

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 (timbales/vocals), Melvin Macias (piano/vocals), Yosvany Cordero (congo/bongo), Michael S. Morton (flute/vocals), and Isoel Villarrubia (bass).

 

Regi Wooten & Friends – Every Wednesday – 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.

 

Hot Club Gypsy Jazz – Every Thursday (except March 13) – 6:00 PM ($12)

Every Thursday night, Rudy’s honors its New Orleans and French roots by celebrating the vibrant music of Gypsy Jazz. These nights feature a variety of small groups either led or curated by New Orleans native Brook Sutton, all performing music in the style of the great Django Reinhardt and Stephane Grapelli. The bar will feature French Quarter-inspired cocktails as well as gumbo and beignets. Come out for as authentic a night as you can get without a trip to the French Quarter.

 

Rudy’s Jazz Jam – Every Sunday – 9:00 PM ($10)

I couldn’t make a list of Rudy’s events without including a shout-out for the regular weekly Jazz Jam the club hosts every Sunday night. Whether you are a jazz musician and you want to jam with your fellow artists, or you just want to come and enjoy what the local talent has to offer, the Jazz Jam is a great way to end your weekend.


Vinyl Tap

Vinyl Tap is a great little spot in Music City, a combined bar, record store, and music venue. You can often find great new or unknown-to-you acts playing the Tap’s stage.

 

Jack Silverman Quartet – Thursday, March 20 8 pm (Free)

Looking for some Nashville jazz with a psychedelic rock twist? Well, look no further! The Jack Silverman Quartet will bring some pleasing notes for your ears  


The Underdog Nashville

 

Jack Ruch and Adam Wakefield Trio – Every Thursday– 7:00 PM ($10)

Jack Ruch returns this month with his organ trio, a classic jazz format.


University Jazz

The university semester is well under way, which means student, faculty, and guest concerts for the public to enjoy.

Vanderbilt – Blair School of Music

 

Vanderbilt Jazz Orchestra & Blair Jazz Choir – Monday, March 3 – 8:00 PM ($10) (Turner Recital Hall)

 

Belmont

Belmont School of Music

Jazz String Septet – Sunday, March 2 – 6:30 PM (Massey Concert Hall)

Jazz Small Groups II & III – Monday, March 3 – 7:30 PM (Harton Concert Hall)

Jazz Band I & II – Thursday, March 6 – 7:30 PM (Massey Concert Hall)

Jazzmin – Friday, March 28 – 7:30 PM (Massey Concert Hall)


Regular Nashville Hangs

Bohemia After Dark: Live Jazz Band with Andrew Golden – Every Monday – 8:00 PM (Old Glory)

Tuesday Bluesday w/ Shantelle & The Juke Joint Band – Every Tuesday – 6:30 PM (Rawhides)

Weekly blues night with a different special guest each week.

 

Dinner & A Show – Live Jazz Band – Every Friday – 7:00 PM (Flamingo Cocktail Club)

Living Room Sessions – Every Friday & Saturday – 8:00 PM (W Nashville Hotel)

Regular weekly showcase featuring local indie, jazz, funk, and R&B bands.

 

Eastside Jam – Every Sunday – 9:00 PM (Inglewood Lounge)

This is not a traditional jazz jam playing standards, but rather an improv jam, but any jazz player or listener will still be interested!

 

Nightly Jazz at Skull’s Rainbow Room

Weekly Schedule:
  • Monday: 5:15pm: Grant Garland; 7:30pm: Derrick Williams 
  • Tuesday: 5:15pm: Jay Vern; 7:30pm: Thea Danos & Dianne Sherrill
  • Wednesday: 5:15pm: Taylor Tuke; 7:30pm: Derrick Williams
  • Thursday: 5:15pm: John Paciga; 7:30pm: Derrick Williams & Laura Mayo
  • Friday: 5:15pm: Jay Vern; 7:30pm: Dianne Sherrill & Laura Mayo
  • Saturday: 5:15pm: Jay Vern; 7:30pm: Dianne Sherrill & Laura Mayo
  • Sunday: 10:00am: Tabitha Meeks; 5:15pm: Jay Vern; 7:30pm: Perry Danos & Thea Danos

Nightly Jazz at Sinatra Bar & Lounge

Weekly Schedule:
  • Monday: 5:00pm-6:30pm: Jeff Alfiero; 7:00pm-11:00pm: Ryan Driscoll
  • Tuesday: 5:00pm-6:30pm: John Pahmer; 7:00pm-11:00pm: Derrick Williams
  • Wednesday: 5:00pm-6:30pm: Jeff Alfiero; 7:00pm-11:00pm: Perry Danos
  • Thursday: 5:00pm-6:30pm: Nick Fabian; 7:00pm-11:00pm: Daniel Sovich
  • Friday: 5:00pm-6:30pm: Nick Fabian; 7:00pm-11:00pm: Ryan Driscoll
  • Saturday: 5:00pm-6:30pm – Nick Fabian; 7:00pm-11:00pm: Thea Danos
  • Sunday: 10:00am-2:00pm: Jeff Alfiero; 5:00pm-6:30pm: Nick Fabian; 7:00pm-11:00pm: Ryan Driscoll

Live Jazz at Skye Lounge – Every Friday & Saturday

NJW at Char Steakhouse – Evenings and Sunday Brunch

Rudy's Jazz Room

Ladies of Jazz

A singer in a smokey room

a smell of wine and cheap perfume

for a smile they can share the night

it goes on and on and on and on

Brooke Bryant

While these lyrics are from a vastly different genre and period in music, they beautifully encapsulate the atmosphere of Rudy’s Jazz Room for their “Ladies of Jazz” night: cozy, comfortable, warm, intricately decorated and very amicable. The room itself is small, smaller than any performance hall I’ve played in or sat in, but in that smallness lies the communal nature of jazz. I made acquaintances with a New York songwriter sitting next to me, and after each set, the singers came to us to talk and thank us for coming.

The first performer we, the audience, had the pleasure of meeting was named Brooke Bryant. A longtime singer, February 23 was her debut performance for the Ladies of Jazz show. And as if there weren’t enough bubbly lights strung around the room, her voice added ten times more light and color than I’ve ever seen. She projected well, sang every note perfectly in tune, and stood with confidence. She inspired even my uncoordinated self to dance a little, in my chair. Accompanied by piano, saxophone, trumpet, trombone, bass and drums, she sang classics in both English and Italian, including “Istanbul (not Constantinople)” and “Secret Love.” In between songs she engaged with the audience, asking us about our days and opinions, and entertaining us with stories of her own.

Johnnie Baltimore

Next came Johnnie Baltimore, who I believe to be the personification of grace itself. She was dressed in a beautiful long dress that looked like something straight out of a 50s movie. A self-proclaimed “ballad girl,” her voice was ethereal, light and flowy with excellent projection and articulation throughout her range. What I found most impressive were her melismas; each note was perfectly placed and in tune.  Accompanied by piano, bass, drums, and trumpet, ballads, including “S’wonderful,” were certainly the hallmark of her set, which I later learned to be her first full set. I would not have known this had she not said so; the way she held herself and sang was already so full of poise and confidence, I’d assumed she was as experienced as Bryant. Aside from ballads, she sang multiple bossa nova songs, her favorite style of jazz. At the end of her set, the audience cheered the loudest of all that night. I hope to see her perform again.

Wendy Burns

Last but not least of the singers was the one and only Wendy Burns, who organizes each Ladies of Jazz night. As NIMA’s 2024 Jazz Vocalist of the Year, she closed out the show beautifully with her lyrical, mezzo-soprano voice. Much of her set consisted of songs from her album “Flutopia,” including “Hey Mr. Someone,” a romantic ballad that truly moved me. Her voice fits this romantic style of jazz like the final piece in a thousand piece puzzle. Much like the aforementioned singers, she engaged with the audience, laughing and telling stories. Accompanied by piano, bass, drums and trumpet, her voice pierced over the instrumentation in an unforgettably beautiful manner. Once the show ended, she too embraced the crowd and thanked us individually for coming.

Overall, Ladies of Jazz was a spectacular show that I believe everyone in this city should have a chance to witness. Strangers should be waiting up and down the boulevard to attend. To Wendy and Rudy’s Jazz Room, I want to sincerely thank you for the hard work you put into this slice of magic in Nashville, and for allowing me to review it. I hope to return soon.

From the Nashville Shakespeare Festival

Pride and Prejudice and Plays

Pride and Prejudice is a beloved classic that has resurfaced as younger audiences have discovered the magic of Jane Austen through the 2005 film adaption directed by Joe Wright, which stars Kiera Knightly as Elizabeth Bennet and Matthew Macfadyen as Mr. Darcy. This movie is, of course, a gateway to the 1995 BBC television series, comprised of six bingeable episodes and all things costume drama. This inevitably leads to finally reading the book and realizing that the stuffy book your mother tried to force you to read as a child was, in fact, rather good.

Elizabeth Bennet (Christiana Allison) and Mr. Darcy (Finn McGinnis) Photo: Sammy Hearn

At first glance, Pride and Prejudice has all the fixings of a classic enemies-to-lovers trope. The cast of characters includes Mr. and Mrs. Bennet, their five single daughters, and their various friends and relations. Without giving too much away, the second eldest Bennet daughter, Elizabeth, or Lizzy, is an example of a classic headstrong heroine who laughs at anyone who thinks too much of themselves and doesn’t want to get married. Mr. Darcy is the tall, dark, and aloof love interest who allegedly thinks too much of himself and not enough of Lizzy. Jane is the eldest sister; a loving girl who rarely truly speaks her mind. Mary is the quintessential middle child, neglected on all sides by siblings and parents, and the youngest, Lydia, is a prodigious flirt.

Pride and Prejudice is a captivating introduction to the Regency period in England during which class, inheritance, and dances played a large role in people’s lives. However, when you look closely, Pride and Prejudice critiques England’s treatment of women in Jane Austen’s day. A woman could only provide for herself through marriage or the provision of other male relatives. Lizzy, our main character, has no interest in marrying, unlike her sisters, and through her unconventional actions causes quite a stir. If the movie, series, and book aren’t enough to quench your appetite for Pride and Prejudice, or if you are looking for an introduction to one of Jane Austen’s most successful works, Belmont has teamed up with the Nashville Shakespeare Festival to bring you Pride and Prejudice, the play!

Adapted by Kate Hamill, this version of Pride and Prejudice has something for everyone. It takes the beloved characters from the original and highlights their traits in unexpected and often hilarious ways. Mr. Bingley, Mr. Darcy’s closest friend, has always been a humble, lovable character if a little shallow. In this adaptation, these traits are taken to new heights, turning the well-meaning Mr. Bingley into a goofball who quite literally plays fetch with Miss Jane Bennet. This adaption’s dialogue is fast and furious, with cuttingly intelligent quips thrown between cast members. In addition to breakneck humor, there are also intense, poignant moments throughout the play, that the cast manages to balance well.

Brenda Sparks as Mrs. Bennet (Photo: Sammy Hearn)

The cast consists of eight people who, excluding Lizzy and Mr. Darcy, double, multiple, often gender-bent, roles. Cast member JW Burkhart pulled shrieks of laughter from the audience with the delightful mannerisms of the verbose Mr. Collins. Burkhart also portrays the deceitful Mr. Wickham and the stuck-up Miss Caroline Bingley. Mr. Bennet and Charlotte Lucas, are both played by Sean Martin who embodies both characters. As Mr. Bennet, he completely submerges himself in the often-distant and disinterested father who repents creating sweet scenes of paternal reconciliation, only to change with the donning of a bonnet into Lizzy’s friend the ever-practical Charlotte Lucas. Mr. Bennet’s other half, Mrs. Bennet, is played by Brenda Sparks who knocks her role out of the park! Her chronic bouts of nerves, brought on by trying to find husbands for all four of her daughters, make Mrs. Bennet hysteric and leave the audience laughing hysterically.

The set in Troutt Theatre, designed by Em Mills, was intricately decorated with flickering candles. A mass of chairs and other furniture were hung haphazardly from floor to ceiling throughout the set. Little doilies, bits of white lace, and other fabrics were strewn around the stage in combination with paintings, books, and various garlands making the set simultaneously cozy and eye-catching. A gauzy screen served as the backdrop of the set, which was utilized in tandem with various creative lighting changes to show the silhouettes of cast members, behind the scenes. Overall, the set changes were minimalistic, but the actors were so convincing that each scene took on a completely unique life of its own. They made it easy for the audience to envision the characters in their living room at home and, at the next moment, in a grand ballroom waltzing with red-coat soldiers.

All of the cast did a phenomenal job, and I cannot say enough about the witty and sometimes utterly absurd humor used throughout the play. There are still five performances left at the Troutt Theatre from February 27th to March 2nd where you can try out Austen for the first time or experience her classic tale in a whole new way.