Suture is one of the most outstanding neo-noirs of the 1990s. The wealthy and self-assured Vincent (Michael Harris) meets his blue-collar half-brother Clay (Dennis Haysbert) at their father’s funeral, and is struck by their similarity. He decides to murder Clay and take his identity — only Clay survives the assassination attempt with no memory and is mistaken for Vincent.
Tonya Dyson is a beloved artist who has not only built a devoted following in a creative landscape of her own design but has helped develop and nurture that same environment for countless other Memphis artists. She’s the genuine article in Memphis’ new soul underground.
Hosted by Brandon Blvd, The Evergreen Sessions Vol. II features Idi X Teco with Saturday Sunset, Camm, Kiva Richardson, Austyn Michael, and D’vonna Taylor.
Violist Amaro Dubois and pianist David Cordoba perform music from Dubois’ new album Luz, featuring works by Florence Price, Villani-Cortes, Villa-Lobos, William Grant Still, Michael Tippet, José Elizondo, and Dimitri Cervo.
Directed by Brian De Palma, Phantom of the Paradise satirizes both horror films and rock groups in the story of a composer of a rock cantata on the theme of Faust, who sells his soul for rock ’n’ roll. Oscar-winner Paul Williams stars and composed the superb rock musical score.
As a singer/songwriter, Rachel Maxann describes her style as vintage indie-rock and post-modern folklore. Originally from Ohio, Rachel has been deeply influenced by the music culture of every area where she has lived — North Carolina; New Orleans, Louisiana; and Memphis.
“In the same show, you’ll hear country influences, blues influences, rock and pop influences, and maybe even some musical theater,” she says.
Black Opry amplifies Black artists and builds community for Black fans of country, blues, folk, and Americana music. In honor of Pride month, this celebration of queer Black voices in roots music will feature Carmen Dianne, Josey, and Julia Cannon.
A 90-minute concert from the No Tears Project ensemble led by Christopher Parker (piano) and Kelley Hurt (voice). The band will perform the world premiere of new works written by and in collaboration with Memphis artists, including saxophonist Robert “Bobby LaVell” Garner. A new arrangement of Memphis pianist Donald Brown’s song “Poem for Martin,” written by Marc Franklin, as well as selections previously written by Oliver Lake, Parker, and Hurt, in honor of the Little Rock Nine will also be performed. Poet and spoken word artist Treasure Shields Redmond, and dancer Ashley Tate will also join the ensemble as special guests for both community concerts.
When you think of an ambassador for jazz music today, you have got to include Paul Carr in that grouping, as his work touches all fronts including jazz education, performance and presentation.
In honor of the incredible experimental lesbian filmmaker, Barbara Hammer, Indie Memphis and Crosstown Arts are excited to bring this Tribute to Barbara Hammer for this month’s MicroCinema. A prolific filmmaker, installation artist, and pioneer of feminist and queer cinema for over 50 years, Hammer’s work consistently and relentlessly explored the intimate experiences of lesbian relationships, the erasure and censorship of queer history, and the relationship between sex, age, and the body.
Supported by an Arts Access grant from the Tennessee Arts Commission and ArtsMemphis, Crosstown Arts presents the premiere of the commissioned work by Evan Williams, "Crosstown Counterpoint" alongside Williams' earlier works "Bodies Upon the Gears", "Amber Waves", and Terry Riley's classic minimalist bop, "In C."
“The Artist” is a solo showcase performed by artistic director/choreographer Darrius Strong, in which he touches on layers and humanity of the person behind the artist. For Strong, movement is real and it acts as a language and sometimes as a therapeutic device. Overlapped with movement phrases, “The Artist” will also showcase other routine devices he uses throughout his day that tie to the continuous work he does to heal trauma in his body — aspects of the work that are very much read, true, and relatable to the human experience for many. We are not just one-sides, but we have many layers and dimensions to our identity.
Growing up in Boston Massachusetts, Peter Janson listened to his father, an accomplished amateur guitarist, play solo guitar every day. Peter started playing by the age of seven, and starting doing pop gigs at age 15. For the last twenty-five years he has performed in venues large and small, much as a touring studio guitarist would - in a variety of styles; pop, rock, fusion, folk, Celtic, classical, and jazz. His sound is a melding of all these, and it presents as crossover jazz fusion.
