Tag: The Green Room

Scott Sharrard & The Bo-Keys

Join us in The Green Room at Crosstown Arts for a performance by blues guitarist and singer-songwriter Scott Sherrard and Memphis-based soul band, The Bo-Keys.

Tickets: $10
Doors 7:30 pm | Show at 8 pm

“One of the best guitarists in the country.” — Billboard Magazine

Scott Sharrard is best-known as lead guitarist and bandleader for the late Gregg Allman. But his personal artistic journey – which includes singing, songwriting, producing, and arranging – began long before he first teamed up with the rock icon.

“Gregg had a pure passion and heart,” Sharrard says of his friend, “especially when it came to being a musician. That authenticity and dedication is a daily inspiration, and I will always carry that with me onstage and in the studio.”

His latest record,“Saving Grace,” with the blues at its core, bears a distinctly southern spirit. Sessions took place in Memphis and at the historic FAME Studios in Muscle Shoals, Alabama. Half the album employs the Hi Rhythm Section, the other The Swampers of Muscle Shoals.

The partnership with Allman ended with the 69-year-old’s death on May 27, 2017. But not before Allman covered Sharrard’s “Love Like Kerosene” on 2015’s “Gregg Allman Live: Back to Macon, GA,” and again on Allman’s eighth and final solo album, the posthumous, GRAMMY-nominated “Southern Blood” (Rounder Records, 2017).

Another “Southern Blood” track, the unforgettable farewell “My Only True Friend” – co-written by Sharrard and Allman – earned a GRAMMY nomination for Americana Song of the Year.

He’s now begun a new chapter with an album he consciously wanted to summarize the last 20 years of his work – and one that showcases the totality of his artistry: as guitarist, singer, songwriter, producer, arranger and bandleader.

In short, he says, it’s rock n’ roll rooted in everything else.

“I basically have a rock ’n’ roll band,” Sharrard explains. “When I was growing up, I loved bands like Little Feat, Led Zeppelin and the Allmans. They would explore so many styles and experiment. That’s something I have always tried to embrace, and that’s how I want to present my music today. This is what I tried to do with Gregg. Now I’m continuing that as a solo artist.”

John Raymond & Real Feels at The Green Room

Join us in The Green Room at Crosstown Arts for a performance by up-and-coming jazz trumpeter and flugelhorn player John Raymond.

Tickets: $10
Doors 7 pm | Show at 7:30 pm

With a singular voice on the trumpet and flugelhorn, John Raymond is making his mark as one of the most promising, up-and-coming jazz musicians in the world. Recently dubbed as a Rising Star by Downbeat Magazine, John has performed with some of most well-respected names in jazz, including Orrin Evans, Kurt Rosenwinkel, Billy Hart, and Linda Oh among others. He has released five albums under his own name since 2012, all of which are receiving critical acclaim from the New York Times, Stereogum, Downbeat, JazzTimes, and more. John has also established himself as a sought-after educator, both as the Professor of Jazz Trumpet at Indiana University and as a guest clinician and soloist at schools around the world.

Raymond’s Real Feels is a bass-less trio that includes Gilad Hekselman (guitar) and Colin Stranahan (drums), and the leader on flugelhorn. Together, they incorporate indie-rock, folk, and electronic influences to both riveting original music and fresh takes on recognizable songs by artists such as Bob Dylan, Thom Yorke, Bon Iver, Paul Simon and more. Regardless of material, the band’s improvisational, free-wheeling, “keep-you-on-the-edge-of-your-seat” approach to the music makes each experience with Real Feels a new and captivating experience. It’s no surprise that they are one of the hottest, up-and-coming groups in jazz today.

 

Live Score to Seijun Suzuki’s Detective Bureau 2-3: Go To Hell Bastards!

Memphis-based Detective Bureau presents a live score of Seijun Suzuki’s “Detective Bureau 2-3: Go To Hell Bastards!”

Detective Bureau explores late ’60s and early ’70s Afro-Brazilian soul jazz stylings. Featuring Joe Restivo (guitar), Marc Franklin (trumpet), Landon Moore (bass), Pat Fusco (keys), George Sluppick (drums), and Felix Hernandez (percussion).

Tickets: $10
Doors 7:30pm | Performance 8pm

Seijun Suzuki was a Japanese filmmaker, actor, and screenwriter. His films are known for their jarring visual style, irreverent humor, nihilistic cool, and entertainment-over-logic sensibility. He made 40 predominately B-movies for the Nikkatsu Company between 1956 and 1967, working most prolifically in the yakuza genre. His increasingly surreal style began to draw the ire of the studio in 1963 and culminated in his ultimate dismissal for what is now regarded as his magnum opus, Branded to Kill (1967).

 

Listening Sessions at the Green Room: Woman to Woman by Shirley Brown (1974)

Despite the difficult financial times Stax Records faced in 1974, it was still able to churn out one more classic album and single, the incredible Woman to Woman cut by West Memphis’ own Shirley Brown.

Produced by Jim Stewart and Al Jackson, Jr., Woman to Woman was the label’s swan song, but not before the single (Stax’s final #1 song) became an anthem to every woman whose man dared covet another.

Join Dr. Charles Hughes of Rhodes College and Memphis author and filmmaker Jamey Hatley for a close listen of and a lively discussion about this classic album.

Spotlight Concert Series: Lenore McIntyre, Shelly Sublet, and Tingting Yao

Join us in The Green Room at Crosstown Arts for a special performance of the Spotlight Concert Series, featuring Lenore McIntyre, Shelly Sublet, and Tingting Yao of the Memphis Symphony Orchestra.

Doors 7pm | Performance 7:30pm
Admission $10 (or $5 w/ student ID)

The Spotlight Concert Series showcases members of the Memphis Symphony Orchestra in the intimate Green Room at Crosstown Arts. The series provides the Memphis community the opportunity to get to know and learn more about the talented musicians that make up the Memphis Symphony Orchestra. Each month will feature a different musician or small chamber group as soloist or featured ensemble.

Program:
J.S. Bach: Concerto for Oboe and Violin in C minor BWV 1060
Brahms: Sonata No. 1 for Violin and Piano
Rachmaninoff: Vocalise Opus

About the artists :
Lenore McIntyre has been a core member of the Memphis Symphony Orchestra Violin section since 2005 and will celebrate her 15th Season in 2020 as Assistant Principal Second Violin of the MSO. As a celebrated violinist in the United States and Canada, she has brought exceptional musicianship and virtuosity to many Solo and Chamber Music performances. Lenore is enthusiastic about performing the Classical repertoire as well as modern day compositions. She has performed on stage for world premieres of some very relevant compositions by modern composers Jennifer Higdon, Mason Bates, D.J. Sparr and John Corigliano.

Tingting Yao is currently Staff Pianist at the University of Memphis Rudi E. Scheidt School of Music. Before joining the staff of the University of Memphis, she was a freelance pianist in Oklahoma City area, the University of Oklahoma, and University of Central Oklahoma.

Shelly Sublett has been Solo English horn and assistant principal oboewith the Memphis Symphony Orchestra since 1985. She has also held theposition of second oboe and English horn with the American Sinfonietta andthe Tennessee Summer Symphony. Her recordings are available on the Pro Organo label.

Austin Lucas at The Green Room

Austin Lucas returns to Memphis for a performance at The Green Room at Crosstown Arts with his band, The Bold Party, on their fall US tour.

Doors 7:00pm | Performance 7:30pm

“Sometimes an artist just has a voice that’s so true and so clearly coming directly from the soul that you just can’t argue with it, and Austin Lucas is one of those guys.” – BBC Radio

It’s been over two decades since the songwriter packed his bags and left Bloomington, Indiana, the Midwestern town where he spent his childhood years falling in love with rock & roll, embracing his punk roots, and standing his ground whenever intolerant locals didn’t understand his way of life. He returns to that place – both creatively and physically – with his seventh studio album, Immortal Americans. Written after a tumultuous period that found Lucas getting sober, supporting his partner through a battle with cancer, and breaking up with his longtime record label, Immortal Americans is a clear-eyed album for murkier times, rooted in stripped-down heartland rock songs that find the artist reflecting upon the changes in both his hometown and himself.

Co-produced by Lucas and Will Johnson (Centro-matic), recorded/engineered by Steve Albini, and captured in a series of live, full-band performances, Immortal Americans was written after Lucas resettled in Bloomington. He’d been away for years, touring the world as an independent solo artist before signing a record deal with New West in 2013. In many ways, the albums he released during that period were reflections of the music he’d grown up with, from the mountain music of his father (bluegrass musician Bob Lucas) to the punk records that soundtracked his teenage years. Appropriately, Lucas earned a fanbase as a folksinger with punk roots – or was it the other way around? – while touring the country with artists who represented both ends of that spectrum, sharing shows with Willie Nelson one minute and Chuck Ragan the next.