Gritty City Bang Bang

Crosstown Arts presents Gritty City Bang Bang in the Green Room.

The Green Room at Crosstown Arts
Thursday, March 9, 2023
Doors open at 7 pm | Show begins at 7:30 pm
Tickets: $12 in advance | $15 at the door

PURCHASE TICKETS HERE

Gritty City Bang Bang is the brainchild of guitarist Jonathan Bass. Original compositions by Bass are elevated by Memphis titans Mike Assad and Carl Caspersen. This trio delivers improvisation permeated with cinematic Americana vibes, bringing the funk when needed. Next to the likes of BBQ and Home Depot, there has never been a better destination for heavy lifting of the human soul.

*SOLD OUT* Patrice Williamson, Jenna McLean, and Deborah Swiney

Crosstown Arts presents Patrice Williamson, Jenna McLean, and Deborah Swiney with the Michael Shults Quartet in the Green Room.

The Green Room at Crosstown Arts
Friday, March 3, 2023
Doors open at 7 pm | Show begins at 7:30 pm
Tickets: $15 in advance | $20 at the door | $10 student tickets available

PURCHASE TICKETS HERE

Three of the most legendary women in jazz unite for one special performance, backed up by the Michael Shults Quartet.

PATRICE WILLIAMSON
Jazz Times magazine states that “Patrice Williamson isn’t a singer, she’s a one-woman jazz sampler. –­ She is a woman of many voices, each distinctly intriguing all distinctly her own.”

Patrice Williamson’s childhood home in Memphis, Tennessee, was filled with song. Her late father, Webster Williamson, an avid amateur singer, choir director, and pillar of the St. Stephen’s Baptist Church music ministry, introduced his children to both sacred music and the secular styles of greats like Louis Armstrong, Nat King Cole, and Lena Horne. With the encouragement of her mother, Lillie Rivers Williamson, Patrice followed in the footsteps of her elder sister, Denise, taking up the violin and making her debut at age four. From then on, she was hooked on music and performing.

A favorite of the Boston music scene, Patrice’s sensitive ballad work and fluent scat style have garnered invitations to perform at the famed Blue Note Jazz club in New York City, and with many well-known instrumentalists such as Danilo Perez, Joe Lovano and Terri Lyne Carrington. As a Professor of Voice at Berklee College of Music, her work has taken her to Perugia, Italy, Seoul, South Korea, Peru and India, where she performed with saxophonist Donald Harrison in the New Delhi Jazz Festival.

Her independent recordings, My Shining Hour and Free to Dream, have received high praise from jazz critics around the country. In 2014 Patrice started The Ella Project, a multi-faceted tribute leading up to Ella Fitzgerald’s 100th birthday, including a concert series, biographical performance, and recordings, including Comes Love, an album celebrating the collaboration between Fitzgerald and legendary guitarist Joe Pass.

JENNA MCLEAN
Jenna McLean is a jazz vocalist and Lecturer in Music and Entertainment at the University of Memphis Lambuth in Jackson, Tennessee. As an accomplished performer, vocal technician, songwriter, and educator, she finds her artistic drive in bringing new twists to timeless standards of the Great American Songbook as well as pop, funk, and soul tunes. With a love and devotion for jazz, opera, R&B, and folk music, she maintains the belief that all music is good music as long as it speaks to the soul and grooves.

Jenna was the 2019 winner of the Downbeat Student Music Awards Graduate Vocal Soloist Category, and a 2019 recent recipient of the Pathways to Jazz Grant. She performs regularly at renowned Colorado Jazz Venues including Dazzle and Nocturne, and has performed and presented multiple times at the Jazz Education Network conference and the Five Points Jazz Festival in Denver. She has had the pleasure of performing alongside renowned musicians such as Bobby McFerrin, Aubrey Logan and the New York Voices, and also performs regularly with incredible Denver-based jazz musicians such as Steve Kovalcheck, Ben Markley, Eric Gunnison, Tom Amend, Dawn Clement, Annie Booth and others.

DEBORAH SWINEY
Deborah Swiney has definitely earned the title of a true chanteuse. Throughout her performance, you get to enjoy a trip back to Harlem to experience the iconic era of Billie Holiday, Ella Fitzgerald, and Sarah Vaughn; you get to dance across the Great American Songbook; and you get to take a flight to Rio where you could close your eyes and imagine relaxing on a Copacabana or Ipanema beach. Being a Memphis native, you might even get a splash of blues.

In a city that loves its blues, rock, jazz, and gospel, Deborah has carved out a niche uniquely her own. This is evident with her highly praised co-produced debut album, I Remember Rio, a Brazilian-inspired album with “Memphis-Soul seasoning” (All about Jazz). I Remember Rio is filled with classic Bossa Nova standards and tunes written by the legendary Antonio Carlos Jobim as well as Deborah Swiney’s “Bossa Nova Casanova” and guitarist, Ed Finney’s title song, “I Remember Rio”. Jazz Weekly describes her as bringing “ a strong and Sarah Vaughan-esque voice to deliver soulful reads of Brazilian…” Transcending the standard definition of a Jazz songstress, her melodic and sultry approach to Bossa Nova and other Brazilian stylings are natural without betraying her Bluff City roots.

Adam Larson Trio

Crosstown Arts presents the Adam Larson Trio in the Green Room.

The Green Room at Crosstown Arts
Thursday, April 20, 2023
Doors at 7 pm | Show at 7:30 pm
Tickets: $15 in advance | $20 at door | $10 student tickets available at the door

PURCHASE TICKETS HERE

On the heels of two record releases in 2022 — With Love, From Chicago and With Love, From Kansas City — saxophonist Adam Larson brings his New York trio for the final installment of his ambitious trio trilogy project totThe Green Room at Crosstown Arts on Thursday, April 20.

Larson will be joined by Matt Clohesy on electric bass and Jimmy Macbride on drums. Together, they will be celebrating the release of With Love, From New York. The music for the evening will be familiar to fans of Larson — high octane and energetic — and will offer something for jazz and jazz-adjacent fans alike. Join the trio for the last hoorah of a nearly two-year project; you won’t want to miss it!

Joe Rainey

Crosstown Arts presents Joe Rainey in the Green Room.

The Green Room at Crosstown Arts
Friday, May 26, 2023
Doors open at 7 pm | Show begins at 7:30 pm
Tickets: $20 in advance | $25 day of the show

PURCHASE TICKETS HERE

Joe Rainey is a Pow Wow singer. On Niineta, he demonstrates his command of the Pow Wow style, descending from Indigenous singing that’s been heard across the waters of what is now called Minnesota for centuries. Depending on the song or the pattern, his voice can celebrate or console, welcome or intimidate, wake you up with a start or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We’re still here. We were here before you were, and we never left.

Rainey grew up at Red Lake Ojibwe in Minneapolis, a city with one of the largest and proudest Native American populations in the country. The Red Lake Reservation sits five hours to the North, a sovereign state unto itself, but Rainey grew up down in what Northerners call “The Cities,” in his mom’s house on historic Milwaukee Avenue on Minneapolis’ South Side. He was raised less than a mile away from Franklin Avenue, the post-Reorganization Act urban nexus of local Native American life, a community centered in the Little Earth housing projects and the Minneapolis American Indian Center. The neighborhood still serves as a home for both the housed and the un-housed, and the don’t-even-wanna-be-housed Native. It is the birthplace of the American Indian Movement (AIM), the pioneering grassroots civil rights organization founded to combat the colonizing forces of police brutality. Rainey came of age in the heart of this community, but always felt like he was living in a liminal space—not that he was uncomfortable with that. “Growing up, knowing that you weren’t from the Rez, but you were repping them, was kind of weird,” he says. “But I liked that.”

Rainey became interested in Pow Wow singing as a child—at the age of five, he started recording Pow Wow singing groups with his GE tape recorder, and his mom enrolled him in a dancing and singing practice with the Little Earth Juniors soon thereafter. As a pre-teen he began hanging out around The Boyz (a legendary Minneapolis drum group) at a house some of them stayed at in the Little Earth projects. “They knew me as a Little Joey,” he remembers. “As in, ‘Hey I tried to get Little Joey to sit down and sing, but he’s too shy.” By the time he was a teenager, however, he had found enough courage to help start The Boyz Juniors, his first drum group, before going on to sing with Big Cedar, Wolf Spirit, Raining Thunder, and Iron Boy. Eventually, his voice grew strong enough to sing in Midnite Express, a new drum group featuring some of The Boyz themselves. They were professionals, city Indians travelling all over the north country, repping their reservations and their neighborhoods on every side of every conceivable border—competing for cash and cred, carousing, providing the beat to the grass dances, always striving to capture that “Pow Wow feeling” of togetherness. Rainey was always just as much of a fan as he was a participant—when he wasn’t at his own drum, he was recording other drums, then studying the tapes when he got home, admiring and cataloging the different singing styles, whether it was Northern Cree, Cozad or Eyabay. Now with an upgraded workhorse Sony tape recorder, he was a student of the game, a maven, a bootlegger extraordinaire.

On Niineta, Rainey finds himself in between cultures again. This time collaborating with the producer Andrew Broder, who brought his multi-instrumentalist, turntablist sensibility to the project. The two of them first met backstage at Justin Vernon’s hometown Eaux Claires music festival before encountering each other more frequently through Vernon and Aaron and Bryce Dessner’s 37d03d collective—both contributing to the last Bon Iver album before broaching the possibility of working together sometime in the future. “At first I didn’t know what I could add to Joe’s incredible recordings,” Broder says. “But eventually I came to understand everything is rooted in the drum—even the songs on our record that have no drum, they’re still rooted in the drum.” So each song started with Broder’s beats, the two of them experimenting with various sounds and tempos, before bringing in other 37d03d collaborators to orchestrate and recontextualize the ancient Pow Wow sound in strange, new in-between places. The album pulls from Rainey’s vast sample folder of Pow Wow recordings, layering and remixing slices of his life of singing in venues across the upper Midwest and Canada.

Rainey got his title, Niineta, from his drum brother Michael Migizi Sullivan, who suggested a short version of the Ojibwe term meaning, “just me.” But he’s using the term only in the sense that he’s taking sole responsibility for its content. Rainey is protective of Pow Wow culture—which was outlawed by the United States government for a generation, defiantly maintained in secret by Native elders he deeply respects—while trying to figure out exactly where he fits into it and how he can fuck with it on his own terms. “These are all my creations, but they’re Pow Wow songs, and our language is sacred,” he says. “And I was like, okay, I understand that, so our album is only vocals. I’m not recording when we’re not supposed to and I’m not giving our shit away.” He uses the analogy of working the hotel room door at a Pow Wow. “If we are partying with one of our older bros, he’d always make me in charge of the fucking door,” he says. So Rainey would like you to conceptualize this album as him working the door at a Pow Wow after party. “You can think of this like, hey man, if all these people are going to be fucking knocking and I’m the one answering the door, you’re going to realize that I’m not the only one in this motherfucker. There’s tons of people in here. So if I’m answering that door, I want to be like, hey, yeah, come on in. There’s fucking tons of us in here. It ain’t just me.”

Making Movies

Crosstown Arts presents Making Movies in The Green Room.

The Green Room at Crosstown Arts
Thursday, February 23, 2023
Doors open at 7 pm | Show begins at 7:30 pm
Tickets: $20

PURCHASE TICKETS HERE

Bio: English (Spanish below)

Making Movies is a psychedelic Panamanian band that makes American music with an asterisk: because Making Movies’ sound encompasses the entirety of the Americas. It’s through this broader perspective that Making Movies crunches classic rock into Latin American rhythms — African-derived percussion and styles like rumba, merengue, mambo and cumbia — in a way that feels oddly familiar, yet delivers the invigorating chills of hearing something singularly special.

Over the course of their career, the quartet has turned heads as a Tiny Desk newcomer (with “A La Deriva”), a voice for immigrant rights (with “I Am Another You” which reached #3 on Billboard‘s Latin Pop Album chart), and as a co-writer alongside salsa icon Rubén Blades (with Latin GRAMMY nominated song “No Te Calles”).

Making Movies has toured extensively, appearing with the likes of Arcade Fire, Rubén Blades, Los Lobos, Hurray For the Riff Raff, Bomba Estereo, Galactic, Flor De Toloache, and Thievery Corporation. The band’s fourth album XOPA was just released on L.A.-based label Cósmica Artists.

en Español:

Ya sea que canten en inglés o en español, o que toquen guitarras eléctricas o instrumentos autóctonos, Making Movies está causand un revuelo por su sonido original descrito por Rolling Stone como “una mezcla ecléctica de percusión de rumbero, órganos delicados y rock grunge distorsionado.”

Durante el transcurso de su carrera, el cuarteto ha llamado la atención como debutante en Tiny Desk (con “A La Deriva”), como voz en pro de los derechos de inmigrantes (con “I Am Another You”, que llegó al n.° 3 en la lista de álbumes de Pop Latino de Billboard), y como coautores con el ícono de la salsa Rubén Blades (con el tema “No Te Calles” nominado a un GRAMMY Latino).

La banda emplea un complemento normal rock de guitarra/bajo/batería/percusión, pero sus miembros incorporan sintetizadores, efectos e instrumentos autóctonos de América Latina a su música. Entretejen estilos tan diversos como la cumbia y el blues, la salsa y el soul, el son cubano y el rock’n’roll — todo combinado para formar su propio sonido original.

Making Movies ha realizado muchas giras, presentándose con figuras tales como Arcade Fire, Rubén Blades, Los Lobos, Hurray For the Riff Raff, Bomba Estéreo, Galactic, Flor de Toloache y Thievery Corporation. El cuarto álbum de la banda se lanzará durante el verano del 2022, bajo el sello Cósmica Artists de Los Ángeles.

“por su contenido y sonido, uno de los mejores albums del año” – National Public Radio

“(Making Movies), íconos del movimiento pro-inmigrante” – Chicago Tribune

 

NOHMADS

Crosstown Arts presents NOHMADS in the Green Room.

The Green Room at Crosstown Arts
Friday, April 21, 2023
Doors open at 7 pm | Show begins at 7:30 pm
Tickets: $12 in advance | $15 at the door

PURCHASE TICKETS HERE

Art rockers from Chicago, NOHMADS weave layers of noir, sludge, and pop to create their unique sound, combining songs, spoken word, and visual elements to tell stories. The band’s debut LP, Chartreuse, contains seven original tracks. Soaring guitars, dynamic percussion, and haunting vocal harmonies escort the listener on a ride through everyday silenced small town dramas, into murky backwoods of past lives, and along hopeful deserted dream landscapes.

NOHMADS is currently writing and recording new music for their sophomore release. Their latest single, “Cough/Cool” is streaming on Spotify and iTunes, with accompanying music video on NohmadsTV. Mixed media music video debuting February 2023.

Phil Hardman – percussion

Eva Victoria – vocals, keys, synths

Ken Becker III – guitar, vocals

Usha Rajbhandari – bass, vocals