Tag Archives: Omaha music

January/February 2020 Concerts Calendar

January 7, 2020 by

Event times and details may change. Check with venue or event organizer to confirm.

Keep Push’n
Jan. 4 at the Waiting Room Lounge, 6212 Maple St. This REO Speedwagon tribute band formed from a Beatles tribute band. Tickets: $10. 8 p.m. 402.884.5353.

Jan. 4 at the Slowdown, 729 N. 14th St. The slowdown hosts an EDM dance party with Dirtysnatacha and Space Wizard. Tickets: $12-$15. 9 p.m. 402.345.7569.

RiFF RAFF: Cranberry Vampire Tour
Jan. 9 at the Waiting Room Lounge, 6212 Maple St. The 37-year-old rapper makes a stop in Omaha on his Cranberry Vampire Tour. Tickets: $20. 9 p.m. 402.884.5353.

Jan. 10 at the Slowdown, 729 N. 14th St. The Journey tribute band is one of the most popular in the region. Tickets:$12-$25. 9 p.m. 402.345.7569.

Stravinsky’s Pulcinella
Jan. 12 at Witherspoon Theater, 2200 Dodge St. Omaha Symphony performs Stravinsky’s entire ballet, one that is both elegant and whimsical. Prior to the show, Joslyn curators will give a talk about the museum’s Degas statue, “Little Dancer Aged Fourteen.” Tickets: $35. 2 p.m. 402.345.0606.

Nebraska’s Own: James Barnett
Jan. 12 at Presbyterian Church of the Cross, 1517 S. 114th St. The second annual Nebraska’s Own concert features pianist James Barnett. Admission: free. 5:30 p.m. 402.333.7466.

Hotel Desperado
Jan. 17 at the Slowdown, 729 N. 14th St. These popular performers are a tribute band to the Eagles. Tickets: $12 advance, $15 day of show. 8:30 p.m. 402.345.7569.

Jan. 17 at the Lookout Lounge, 320 S. 72nd St. This Southern hip-hop legend is coming to Omaha with a host of guests, including Bad News Bobby and Mr Lyd. Tickets: $15 advance. 7 p.m. 402.391.2554.

The Party After
Jan. 17 at the Reverb Lounge, 6121 Military Ave. The rock band from Omaha released their first single in February 2019. Tickets: $10. 9 p.m. 402.884.5707.

Piano Power: Rhapsody in Blue
Jan. 17 & 18 at Holland Performing Arts Center, 1200 Douglas St. Louis Schwizgebel and Xiayin Wang perform several classic works on piano. Tickets: $19-$75. 7:30 p.m. 402.345.0202.

Mark & Maggie O’Connor
Jan. 18 at Omaha Conservatory of Music, 7023 Cass St. Grammy-winning violinist Mark O’Connor and his wife, Maggie, are performing with Omaha Conservatory of Music strings students. A Three-time Grammy Award winner and three-time Grand Master Fiddler Champion, Mark has composed music for the 1996 Summer Olympic Games and cellist Yo-Yo Ma. Tickets: $10. 402-932-4978.

Your Smith
Jan. 19 at the Slowdown, 729 N. 14th St. Caroline Smith makes music that is inspired by a combination of her hometown Minneapolis and Los Angeles. Tickets: $10-$12. 8 p.m. 402.345.7569.

Cold War Kids
Jan. 23 at the Waiting Room Lounge, 6212 Maple St. The band’s latest album, LA Divine, is inspired by how weird and strange the city of Los Angeles is. Tickets: $32. 8 p.m. 402.884.5353.

Stevie Stone
Jan. 23 at Lookout Lounge, 320 S. 72nd St. This hip-hop artist is signed to the same label as Tech N9ne. His music combines intense bars with gravelly melodies. Tickets: $15 advance. 8 p.m. 402.391.2554.

UNO Faculty Showcase
Jan. 24 at Strauss Performing Arts Center, 6305 University Dr N. A showcase of renowned musicians who are also committed to teaching students across the country. Tickets: $15 general admission, $8 students, seniors, military. 6:30 p.m. 402.345.0606.

Pet Rock
Jan. 25 at Holland Performing Arts Center, 1200 Douglas St. Hear music from The Eagles, E.L.O, Styx, and other ’70s bands performed by one of Omaha’s most popular tribute bands. Tickets: $70-$105. 7:30 p.m. 402.345.0202.

The Anniversary
Jan. 29 at the Waiting Room Lounge, 6212 Maple St. The Anniversary was formed in Kansas in the late ’90s and has consistently toured the Midwest region in the years since. Tickets: $20 advance, $25 day of show. 8:30 p.m. 402.884.5353.

Squirrel Nut Zippers and The Dirty Dozen Brass Band
Jan. 30 at Holland Performing Arts Center, 1200 Douglas St. These bands combine swing, funk, jazz, and blues for a unique sound. Tickets: $25-$40. 7:30 p.m. 402.345.0202.

Squirrel-Nut-Zippers band on porch

Chris Janson
Jan. 31 at Ralston Arena, 1200 Douglas St. This country singer is known for hits such as “Fix a Drink,” “Buy Me a Boat,” and “Drunk Girl.” Tickets: $29.50-$49.50. 7 p.m. 402.934.6291.

Sinatra & Beyond
Feb. 1 & 2 at Holland Performing Arts Center, 1200 Douglas St. Singer/songwriter/pianist Tony DeSare puts his own style on Sinatra classics. Tickets: $19-$82. 7:30 p.m. on Feb. 1 and 2 p.m. on Feb. 2. 402.345.0202.

Run River North
Feb. 5 at the Slowdown, 729 N. 14th St. The band released their third studio album, Monsters Calling Home, Vol. 1, in May 2019. Tickets: $15-$18. 8 p.m. 402.345.7569.

Curly Martin & Friends
Feb. 6 at Holland Performing Arts Center, 1200 Douglas St. Omaha native Curly Martin performs in his hometown with several other locally-known jazz artists in this popular concert. Tickets: $19-$40. 7:30 p.m. 402.345.0202.

Ingested, Visceral Disgorge, Cabal, Oppress the Tyrant, Ba’al Berith
Feb. 6 at Lookout Lounge, 320 S. 72nd St. This show features performances from several bands, including the headliner, a death metal band from the UK. Tickets: $17. 6-11 p.m. 402.391.2554.

Jason Aldean: We Back Tour
Feb. 7 at CHI Health Center, 455 N. 10th St. Following the release of his ninth album, the country music superstar makes a stop in Omaha on his latest tour. Tickets: $51-$325. 7:30 p.m. 402.341.1500.

Cody Jinks
Feb. 7 at CHI Health Center, 455 N. 10th St. This singer of “I’m Not the Devil” and “Lifers” is coming to Omaha. Tickets: $29-$154. 402.934.6291.

The Rush Tribute Project
Feb. 7 at the Waiting Room Lounge, 6212 Maple St. A tribute band for Rush performs their biggest hits. Tickets: $15 advance, $20 day of show. 9 p.m. 402.884.5353.

Bob Marley Birthday Bash
Feb. 8 at the Slowdown, 729 N. 14th St. Award winning band Rhythm Collective performs Bob Marley and other reggae songs in honor of the late singer. Tickets: $10-$12, $20 VIP. 8 p.m. 402.345.7569.

Imani Winds: The Beauty of Strife
Feb. 10 at at Presbyterian Church of the Cross, 1517 S. 114th St. The Grammy-nominated group aims to connect with their audience in every performance and will make their first stop in Omaha. 7 p.m. 402.333.7466.

Eddie Palmieri Afro-Caribbean Jazz Sextet
Feb. 11 at Holland Performing Arts Center, 1200 Douglas St. Since the 1950s, Eddie Palmieri has mixed American jazz and Afro-Caribbean rhythms into his own unique sound. Tickets: $20-$50. 7:30 p.m. 402.345.0202.

Eddie-Palmieri and piano

Otis Murphy
Feb. 13 at Strauss Performing Arts Center, 6305 University Dr N. An internationally renowned musician, Otis Murphy has played at some of the largest concert halls in the world and will visit the University of Nebraska at Omaha for their International Concert Series. Tickets: $15 adults, $8 students, seniors, military members. 7:30 p.m. 402.345.0606.

The New Pornographers
Feb. 13 at the Slowdown, 729 N. 14th St. The Canadian indie rock band, known for their single “High Ticket Attractions,” released their eighth album, In the Morse Code of Brake Lights, in 2019. Tickets: $30. 8 p.m. 402.345.7569.

Feb. 13 at the Waiting Room Lounge, 6212 Maple St. Grayscale has been building momentum since their 2011 beginnings with music influenced by everything from nineties rock to modern pop. Tickets: $16 advance, $20 day of show. 7 p.m. 402.884.5353.

Koe Wetzel
Feb. 14 at the Slowdown, 729 N. 14th St. Country singer Koe Wetzel infuses hints of punk in his songs. Tickets: $22-$25. 8:30 p.m. 402.345.7569.

Batman (1989)
Feb. 15 at Holland Performing Arts Center, 1200 Douglas St. Experience one of the first big screen adaptions of the caped crusader while the Omaha Symphony performs the film’s score live. Tickets: $19-$79. 7:30 p.m. 402.345.0202.

The Toasters
Feb. 16 at Lookout Lounge, 320 S. 72nd St. The Toasters perform in Omaha as part of their “4 Decades in Ska” tour. Tickets: $10-$12. 7 p.m. 402.391.2554.

Big Head Todd and the Monsters
Feb. 19 at the Slowdown, 729 N. 14th St. The Colorado jam band is known for their hits like “Bittersweet,” and “Blue Sky.” Tickets: $29.50-$44.50. 7:30 p.m. 402.345.7569.

Brahm’s Symphony No. 1
Feb. 21 and 22 at Holland Performing Arts Center, 1200 Douglas St. Brahm’s Symphony No. 1 features a fantastic finale. Tickets: $19-$73. 7:30 p.m. 402.345.0202.

Feb. 21 at the Waiting Room Lounge, 6212 Maple St. A tribute band to Pink Floyd intent on delivering the most authentic performance possible. Tickets: $12. 8:30 p.m. 402.884.5353.

Feb. 22 at the Reverb Lounge, 6121 Military Ave. The indie rock band released their third studio album, Family Ghost, in October 2019. Tickets: $10. 9 p.m. 402.884.5707.

Watch What Crappens
Feb. 22 at the Waiting Room Lounge, 6212 Maple St. “The creators of “Watch What Crappens” are taking their show on the road. The podcast is a discussion of Bravo TV shows and stars. Tickets: $25 advance, $80 advance VIP, $28 day of show. 8 p.m. 402.884.5353.

The Glorious Sons
Feb. 23 at the Slowdown, 729 N. 14th St. This Canadian band captures the confusion and chaos of young adulthood in their new album, Young Beauties and Fools. Tickets: $20-$99. 7:30 p.m. 402.345.7569.

Colt Ford
Feb. 27 at the Slowdown, 729 N. 14th St. Ford is known for his hits “Sleep Without You,” “Like I Loved You,” and “Mercy.” Tickets: $25-$30. 8:30 p.m. 402.345.7569.

Brett Young with special guest Matt Ferranti
Feb. 27 at Orpheum Theater, 409 S. 16th St. The rising country music star is known for his platinum hits like “Sleep Without You,” “Like I Loved You” and “Mercy.” Tickets: $35-$225. 8 p.m. 402.661.8501.

Stefon Harris & Blackout
Feb. 28 at Holland Performing Arts Center, 1200 Douglas St. Harris combines jazz and R&B for a unique sound. Tickets: $19-$40. 7:30 p.m. 402.345.0202.

Stefon Harris in gray suit

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This calendar was printed in the January/February 2020 edition of Omaha Magazine. To receive the magazine, click here to subscribe

Jazz to the Future

June 13, 2019 by
Illustration by Derek Joy

Legacy Informs Revival

Veteran drummer Curly Martin came of age in the ‘50s and ‘60s, when North O brimmed with players and venues. Today, he’s a flashpoint for shedding light on the history and making jazz relevant again. He is adamant “you can’t be taught jazz or blues.”

“We had mentors. Preston Love was one of my biggest mentors. I was a junior in high school, 16 years old, when I got the gig with his band. I got permission to go on the road and said bye to Tech High.”

He insists the only way to learn is to “just hang out and play, man.”

“My whole thing is about the music and passing on the knowledge,” says Martin, who’s forming a foundation to mentor youth, The Martin Mentoring Lab. He’s presented jazz labs at Hi-Fi House in the Blackstone District and is doing the same at The Jewell in the Capitol District.

“I believe the audience is in Omaha—they just don’t know what they’ve been missing because it’s been gone for so long,” says Kate Dussault, formerly of Hi-Fi House. “Omaha has this really unique opportunity right now, which is why we’re creating this foundation as a place where people can come and learn by osmosis.”

In Martin, Dussault found a kindred spirit.

“He reveres jazz like I do—as black classical music. Curly’s determined to bring jazz back to Omaha and [Hi-Fi House is] doing everything we can to help him.”

His son Terrace Martin, a noted musician and producer in Los Angeles, is leading a similar charge on the coast. 

“It’s a whole new clique going on,” Curly says. “All these young musicians catching hold and putting all this together—passing the work and knowledge around.”

The Grammy-nominated album Velvet Portraits, featuring Curly and Terace, was recorded at producer Rick Carson’s Omaha-based Make Believe Studios. Carson says Terrace, with artists like Kamasi Washington and Robert Glasper, are leading “a jazz resurgence,” adding, “The jazz they’re playing isn’t straight-ahead jazz, it’s this jazz mix-up of hip hop, funk, R&B, and soul.”

“Terrace is sitting right at the nexus of hip hop and jazz,” Dussault says. “He’s a sought-after producer who works with Kendrick Lamar and Herbie Hancock. He’s part of that whole crew bringing this new sort of jazz and making playing jazz cool again to young people.”

That synergy travels to Omaha in work Terrace, Curly, and others do at Hi-Fi, Make Believe, Holland Performing Arts Center, and The Jewell. None of this new activity may have happened, Dussault notes, if Martin hadn’t asked Hi-Fi “to help him bring back jazz at the club level.”

“At the time, in my estimation, jazz truly was dead in Omaha,” she says. “Love’s Jazz was doing a little smooth jazz and you had great shows at the Holland, but you can’t develop a jazz audience at $35 and $65 a ticket. So we came up with a concept of doing shows where Curly and company perform jazz and tackle history he thought otherwise would never be told. He’s really a big believer if kids don’t see it, they can’t aspire to play it—and then we’ll never turn this around.”

Dussault committed “to celebrate the history with Curly and guys he grew up with that had a pretty important impact on the canon of jazz, blues, R&B, even rock. We brought back his friends. We underwrote the shows and we were full almost every time.”

Make Believe captures interviews and performances of Martin and guest musicians. The result is an archive of artists who lived North O’s jazz and blues past.

Filling the Void

Recent standing-room-only Holland performances confirm what Martin and Dussault already knew. “There’s an audience for this music—but you have to reintroduce it,” she says. “Omaha has to work on audience development.” She adds that there has been serious neglect of the scene, not just in Omaha but around the country. “It needs to be respected, coddled, and brought back.”

Omaha Performing Arts president Joan Squires saw the same void. Filling that gap became the mission of its Holland Jazz Series and 1200 Club.

“Nobody was presenting, in any real consistent way, the major touring jazz artists and ensembles here, and we felt it was important we do it,” Squires recalls. “Jazz is an important art form and something we’re very committed to. We do it not just for what’s on the stage but also for the education components the artists bring to our community.”

OPA’s jazz program launched in 2007. The main stage concert hall series features “a mix of very established jazz masters and renowned artists along with up-and-coming talent,” she says.

Jazz on the Green fell under OPA’s domain when Joslyn Art Museum sought someone to take it over.

“We jumped at the chance, because it’s certainly a big part of our mission and it’s a beloved series,” Squires says. “Midtown Crossing’s opening made for a perfect location. All the pieces came together to take that series to a whole new level. We’ll regularly get 8,000 to 10,000 people at a performance. It’s extraordinary.”

Omaha saxophonist Matt Wallace, who toured with Maynard Ferguson and played the prestigious Blue Note and Birdland, likes the city’s new jazz landscape.

“In general, I think the scene is very healthy right now between the players we’re producing and the available venues. The whole scene depends on schools doing well and having places to play. It’s very systemic. If one part is missing, there’s an issue. I’m very encouraged by what’s happening.”

He’s impressed by The Jewell, which opened last fall.

“What happens with most clubs is they get one of two things right—either it sounds great or it looks great. This club actually got all of it right. Another thing I like is that when you walk in you get a history of artists who played at the Dreamland—Nat King Cole, Dinah Washington, Duke Ellington.”

Jewell owner Brian McKenna’s club is a conduit to Omaha’s jazz past.

“There are two stories here,” McKenna says. “There’s the generation of Curly Martin and the previous generation of Preston Love. Each became enchanted with the sounds and players of their eras. They met the artists who came through and ended up playing with them.”

Back in the Day

Martin and his buddies learned to play jazz on the North Side, jamming alongside big-time touring artists. They became respected industry journeymen. Martin has brought some—Stemsy Hunter, Calvin Keys, Ron Beck, and Wali Ali—back to gig with him in Omaha.

North 24th Street landmark Allen’s Showcase, Martin says, “was a musicians’ hangout. It was just about music, period. You went to the Showcase for one reason only—to hear the best of the best. That’s what black music was about. That was the place for the players. The Sunday jam session was notorious. It went from 10 in the morning till 1 the next morning. You had time to play, go home, change clothes, eat, come back.”

The Dreamland Ballroom was where people went to see the major artists at the time. “We knew it as a blues place—Little Richard, Etta James, BB King…You never could dance in the damn ballroom because it was packed tight,” Martin says. “You know where us young musicians were at—right up to the stage looking up.”

“That’s how we met ‘em all. We had a chance to sit-in and play with them.…Later on, when we got 20, 21, they remembered us. That’s how we got gigs.”

Once musicians sufficiently honed their craft here, they left to back big-name artists on major concert tours and hit records. They found success as sidemen, session players, composers, producers, and music directors. Some, like Buddy Miles, became headliners.

The same scenario unfolded a generation earlier at the Dreamland, Club Harlem, Carnation Ballroom, and McGill’s Blue Room. Anna Mae Winburn, Preston Love, and Wynonie Harris broke out that way.

On the North O scene, mostly black talent played in front of integrated audiences on the strip dubbed The Deuce. Driving riffs, hot licks, and soulful voices filled myriad live music spots.

“Everybody was coming north,” Martin says.

“When I came up, we were not leaving Omaha for New York or Los Angeles. There was that much work. There were that many great musicians and venues. Then there were all the cats coming back and forth through Omaha. We were seeing the best in the world…why go anywhere?”

An infrastructure supported the scene in terms of black hotels, rooming houses, and restaurants. A&A Records was “a kick-ass music store with eight listening booths.”

“We had all that going on,” Martin says. “I’d come out of my house every morning and hear music on every corner. It was a fairytale, man. At night, you had to dress up—suit and tie, shoes shined. It was classy. Twenty-fourth and Lake was like being on Broadway. It was like that back in the day.”

Further making the scene special were clubs such as Backstreet, Apex Lounge, The Black Orchid, and The Green Light. At Off Beat Supper Club emcees introduced Cotton Club-like revues and floor shows. “It was killing,” Martin says. “It was the most popular black club in North Omaha.”

After-hours joints added another choice for late nights out. High stakes games unfolded at the Tuxedo Pool Hall. The Ritz and Lothrop movie theaters and social halls provided more entertainment options.

“North Omaha was a one-stop shop when it came to music. There was more to it than just jazz. That was just part of it. The history of North Omaha is not simple at all, especially about the music. There was just tons of music.”

And transcendent talent.

From Gene McDaniels hitting gold with “A Hundred Pounds of Clay” to Lalomie Washburn writing Chaka Khan’s mega-hit “I’m Every Woman,” it’s clear the talent was there.

“Cats getting record deals with Chess Records in Chicago. I can go on and on,” Martin says. “They were hometown stars in the ‘hood—and we all grew up together.”

Restoring What Was Lost

In the ensuing decades, clubs closed and the economy dwindled.

As the North O scene waned, new metro artists emerged—Dave Stryker, Jorge Nila, Dereck Higgins, Steve Raybine, and the Potash Twins.

There were still veterans around for up-and-comers to learn from.

Matt Wallace learned under Luigi Waites. “Playing with older, more experienced guys your game has to come up—there’s just no way around it,” Wallace says. “I try carrying that on.”

Drummer Gary Foster is grateful to his mentors. “I had so many experiences of people taking their time with me, from Bobby Griffo to Charles Gamble to Luigi to Preston, and Preston’s sons Norman and Richie. They were very open.”

Bobby Griffo, aka Shabaka, “was just a prime mover in the North Omaha modern jazz scene. Anybody that was anybody played with him,” Foster says.

Griffo ran the Omaha Music School and led the big band Arkestra that included prime players Timmy Renfro, Mark Luebbe, Gamble, and Foster.

Omaha’s Jazz Scene Hung On

“The Showcase was still going. The Howard Street Tavern had Tuesday night jam sessions. Luigi normally had a night there (and at Mr. Toad’s). A lot of people came in to play,” Foster recalls. “Jack DeJohnette’s band. The Johnny Otis Revue. Dizzy Gillespie and Earl Hines came to town and did a jam session at Howard Street.”

“That stuff went on all the time. The big one was at Kilgore’s. Chick Corea was in town to play the Music Hall. He wanted to know if there was anything going on and we took him to Kilgore’s. He sat in all night playing drums. He didn’t even touch the keyboard.”

Foster says jazz could also be heard at places like The Gaslight and Julio’s.

“And there were still all kinds of little after-hours clubs. I remember one down by the stockyards. I walked in there with my drums—this young white boy with all these black musicians in an all-black club. When the guys sitting at the bar turned around, their coats opened and they were all carrying pistols. They were like, ‘Don’t worry, you’re with the band, you’re cool, you don’t have to worry about anything here.’”

But things slowed to a crawl from the 1990s on.

“Clubs stopped hiring the caliber of jazz artists they once did,” he says. “There were always good local players playing, but it was just a niche thing. Nobody was really making any money at it. We turned to other music to keep gigging. You had to do what you had to do to make it. We played jazz because we loved it.”

The same 10 jazz players played all the gigs. “That’s why I moved to New York,” Foster says. Stryker, Nila, and Karrin Allyson preceded him there.

Climbing Back

Foster is glad the jazz scene has picked up.

Mark’s Bistro owner Mark Pluhacek helped feed the resurgence with a regular jazz program at Jambo Cat beneath his eatery. Though it gained a following, that wasn’t enough to prevent its closing.

Chuck Kilgore, a musician and former club owner, played at and booked Jambo Cat, which he called “the perfect venue.” Even perfect wasn’t good enough.

The truth, Kilgore says, is that few entrepreneurs are willing to risk an investment when there’s “almost certain” small returns.

“Jazz is mostly subsidized these days the way symphonic music is,” Pluhacek says. “It’s underwritten for it to survive. It’s not what people are listening to in huge volumes, so it has to be supported in other ways.”

Pluhacek enjoyed Jambo’s run while it lasted.

“It all came together. It was wonderful. We realize the importance of it. We hope the energy for jazz just grows and gets better.”

Hope for the Future

Besides the Holland and Jewell, other outlets for jazz include the Ozone Lounge, Omaha Lounge, Havana Garage, Harney Street Tavern, and Mr. Toad’s.

Education is also key to engaging an audience.

LJAC hopes to have artists at The Jewell work with elementary school students, and OPA is introducing the genre to pre-schoolers through Jazz at Lincoln Center’s WeBop program. Another facet of cultivating audiences is radio jazz programming. Artists still depend on air play.

“What’s changed is musicians’ ability to get their music out there,” KIOS-FM jazz host Mike Jacobs says. “We get a lot of music produced and marketed by musicians themselves. The major labels have gotten away from doing straight-ahead jazz. A lot of artists produce a hybrid jazz-pop sound. They’re like gateway artists to the classic stuff.”

Jacobs’ KIOS colleague Christopher Cooke is cautiously optimistic The Jewell and other jazz spaces will re-energize things here. He hopes to one day see a “real summer jazz festival in Omaha.”

Meanwhile, Martin helps to build appreciation for the past and a foothold for the future. “It’s about the music coming first. I’ve been blessed and I have to pass it on,” he says.

“Curly was around for a scene that doesn’t exist anymore,” Carson says, “and he’s still connected to the people who made that music…No one is putting him and those dudes on the pedestal. But they’re world-class musicians. They’re clearly exceptional talents.”

Martin wants North O’s renaissance to be informed by what went before.

“How you going to know what we need, when you don’t know what we had?”

This article was printed in the July/August 2019 edition of Omaha Magazine. To receive the magazine, click here to subscribe.