Quake Performers Shine Despite Poor Acoustics, AC in Memorial Gym

The first thing that I noticed walking in to Memorial Gym last night for Commodore Quake was the oppressive heat.  The second thing that I noticed once I found a seat was the atrocious, garbled acoustics of our re-purposed basketball court.  I wish I didn’t feel like I have to include these sour notes as the very first thing in this recap.  I wish I hadn’t noticed these things about Quake at all.  But most of all, I sincerely wish that these weren’t the most memorable aspects of my entire night at Quake.

This year's Quake logo
This year’s Quake logo

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Local Acts Shine at Exit/In–Monday, October 6, 2014

Joel Levi headlined Soundstamp's local music showcase at Exit/In on Monday night.
Joel Levi headlined Soundstamp’s local music showcase at Exit/In on Monday night.

Exit/In is one of Nashville’s most famous and beloved venues.  One look above the bar at the wall of artists who have performed on its stage is enough to send the tingles of history down your spine.  Monday night, though, Exit/In’s legendary stage was devoted to three local acts: Joel Levi, James and the Wild Spirit, and Vanderbilt’s own Kid Freud.  The trio of bands, though quite different in genre and style, combined to put on one hell of a show.

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Cello, You Got a Bass

victorwooten.com
victorwooten.com

On September 18th, virtuosic bass player Victor Wooten premiered his unprecedented electric bass concerto entitled “The Bass Whisperer: Concerto for Electric Bass and Orchestra” with the Nashville Symphony Orchestra. The concert attracted an interesting conglomeration of regular symphony-goers as well as jazz and R&B fans, which for someone like Victor Wooten, who has preached how music is the perfect medium for peace, love, and even diplomacy, must have been the ideal sight to see. However, for us concert attendees watching someone who many believe is the best bassist of our generation, maybe of all time, perform with such soul and passion, that was the ideal sight to see. In the spirit of Wooten’s complete disregard of “genre” for the sake of musical exploration, it is only appropriate to try to learn from him and maybe delve into the orchestral world ourselves for a little bit.

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