When the U.S. Supreme Court sent the case of death row inmate Paul House back to a lower court in June this year with the observation that “No reasonable juror viewing the record as a whole would lack a reasonable doubt,” the outcome seemed a foregone conclusion. House was convicted of the 1985 murder and rape of neighbor Carolyn Muncey. DNA results have since proven that the semen on Muncey’s clothes matched that of her husband, not House. But despite compelling evidence pointing to House’s innocence, the case hasn’t yet been reheard, nor has Gov. Bredesen been willing to issue a pardon (see “Justice Denied,” Dec. 7). To renew attention, the Tennessee Coalition to Abolish State Killing is sponsoring an evening that will include information on the case and the larger issues it represents, but will focus mostly on music. TCASK has pulled together a diverse group of artists—heavy, but not as heavy as you might expect, on the singer/songwriter side—for the event, and they’re some of Nashville’s best, including a healthy number who’ve made a mark on Music Row while retaining their independence and integrity. Some surprise additions are promised, too, but even if none materialize, the concert represents the generosity and the talent with which the city’s musical community is blessed. (With Mindy Smith, Darrell Scott, David Olney, Joy Lynn White, Tom Kimmel, Rob Ickes, Kenny Meeks, Julie Lee, Sarah Siskind, Dave Perkins, Elizabeth Foster, Nathan Phillips, The Darks and Pat McGrath.) Downtown Presbyterian Church, 154 Fifth Ave. N., 7 p.m. —JON WEISBERGER MUSIC THURSDAY, 14TH DONALD BROWN/NASHVILLE JAZZ ORCHESTRA Word on the street is that this outstanding jazz pianist has put off surgery (relating to a painfully debilitating case of arthritis) specifically to play this one gig in Nashville. For that we can all be thankful. Brown is one of the hottest jazz pianists in the country, who first came to attention as a member of Art Blakey’s Jazz Messengers. He achieved real prominence for his Grammy-nominated composition “The Insane Asylum,” which Wynton Marsalis made famous on his album J Mood. As a pianist, Brown is a technical wizard who plays the whole keyboard; his solo rendition of “Take the A Train” is almost as plush and colorful as Billy Strayhorn’s big band original—almost. In any case, Brown will get the full big band treatment in Nashville, playing originals with Jim Williamson’s Nashville Jazz Orchestra. The concert will also feature the Blair Big Band under Billy Adair, making for an entire evening of big band jazz. Now that’s what we call a Christmas present. Tickets are $15 at the door ($10 for Vandy faculty and those over 55; $5 for area students and free for Vandy students). Ingram Hall, Blair School of Music —JOHN PITCHER JIM ROONEY’S IRREGULARS Rooney’s illustrious accomplishments include a long stint as Music Row’s artistic conscience, producing intimate albums for John Prine, Townes Van Zandt and Ian Tyson while championing then-new artists Iris DeMent, Nanci Griffith and Hal Ketchum. By then, he’d already earned a renaissance man rep as a performer and author who’d managed the groundbreaking folk-music hub Club 47 in Cambridge, Mass., where Joan Baez, Maria Muldaur and Tom Rush got their start. He worked as talent coordinator for the Newport Folk Festival in its heyday and toiled as manager of the famed Bearsville Sound Studio in Woodstock, N.Y. These days, Rooney splits his time between Ireland, Vermont and Nashville, where he occasionally throws a musical party as leader of the Irregulars, a loose-knit troupe of well-regarded musicians whose names most music fans will recognize. An Irregulars show promises two things: a pile of surprise guests and musical highlights. Station Inn —MICHAEL McCALL ELIZABETH COOK The rare country singer who connects with both mainstream and alternative audiences, Cook receives equally effusive crowd responses at the Grand Ole Opry and the Exit/In, or in Austin, Texas, and Branson, Mo. Her sprightly, true-to-the-core country eschews showy vocal displays in favor of subtle phrasing and unfettered personality, drawing crowds in with the same kind of disarming directness and here-I-am charm that makes heroes like Loretta Lynn and Dolly Parton so persuasive. Like Lynn and Parton, a good measure of Cook’s allure comes from her songwriting, and her upcoming Rodney Crowell-produced album shows she’s been on a roll. One ringer that has crowds shouting with approval midsong features the chorus, “It takes balls to be a woman,” a truism she explains with knowing detail in the lyrics. The Basement —MICHAEL MCCALL FRIDAY, 15TH JAMES KING BAND Robust and gruff around the edges, King sings bluegrass music as if his life depended on the audience believing every word. He’s taken on the nickname “The Bluegrass Storyteller” because of the genuine passion he instills in his songs, which lean toward tales of hard luck, heartbreak and deliverance. For an old-school stylist, he shows an unusual willingness to take on adventurous material, picking perfectly suited songs from outside the canon by writers such as Buddy Miller, Fred Eaglesmith and David Olney, while the hard-country influence of his vocals comes through when covering Lefty Frizzell, Tom T. Hall and others. Musically, his band tends to keep it lean, with an emphasis on spare country blues and harmony, all the better to emphasize the bandleader’s voice. Station Inn —MICHAEL MCCALL RICHARD JAMES AND THE SPECIAL RIDERS For Richard James, the past 40 years have done nothing to change the potency of rock ’n’ roll’s initial impact. With the help of his revolving cast of Special Riders, James infuses his swampy trucker-rock on songs such as “Black Ice” and “Falling Down Blues,” with a demented persona, avoiding the easy pitfall of sounding like a simple impersonator. Last year’s “Jeff Gunn” 7-inch found the band taking the psychobilly of The Cramps and delivering it with the same country-tinged garage rock of The Gun Club. This time around, the Special Riders are stretching out into the full-length format, releasing Music for People Who’ve Been Wrong(ed), available for the first time at this show. (myspace.com/richardjamesthespecialriders) Family Wash —MATT SULLIVAN JUKE KARTEL W/WHITESTARR Australia’s Juke Kartel are led by Toby Rand, who will always be better known as one of the guys who didn’t win on Rock Star: Supernova earlier this year. His band play catchy modern rock for hyperactive Hoobastank fans. More worthy of your time are L.A. openers Whitestarr, whose frontman Cisco Adler isn’t a TV star but used to date one by the name of Mischa Barton. (Maybe he still does—who can keep up?) On Luv Machine, their seriously slept-on debut from earlier this year, Whitestarr kick out hilarious yet tenderhearted sleaze-rock jams that wonder why Chris Robinson of the Black Crowes ever stopped banging a gong and getting it on. (jukekartel.com; myspace.com/whitestarr) Mercy Lounge —MIKAEL WOOD DR. DOG On 2005’s Easy Beat, these Philadelphia psych-rock slackers did a Pavement impression good enough to seduce this country’s rock critics, several of whom (including Kelefa Sanneh of The New York Times) adopted Dr. Dog as an indie-pop pet project. We All Belong, the group’s upcoming follow-up (due out in February), veers away some from the lo-fi Pavement worship. It’s got some gorgeous moments that come closer to The Band than anything else has in years, and it’s a bigger-sounding record than Easy Beat, with all kinds of post-Elephant 6 ear candy thrown in to reward headphone-wearers. Don’t be surprised if Pitchfork says it beats out The Shins’ new one. Tonight Dr. Dog open for the Black Keys, who evidently didn’t get all their rocking out when they played the same venue a month ago. (drdogmusic.com) Mercy Lounge —MIKAEL WOOD FRIDAY, 15TH - SATURDAY, 16TH AARON NEVILLE Tennessee had the honor of serving as a temporary abode for Aaron, of New Orleans musical fixtures The Neville Brothers, when Hurricane Katrina destroyed his home last year. His nimble, meandering croon is a national treasure, immediately recognizable and darned hard to duplicate, especially his silken upper register. He’s such a master of the American songbook that when he does covers, you tend not to miss the originals. His most recent solo album released in September, Bring It on Home: The Soul Classics, does just what the title promises, and who else but Neville would even try to touch Bill Withers’s “Aint No Sunshine”? He gives the song a jam-band flavor with some wistful scatting, throwing in a sax solo by his older brother Charles, who’ll be joining him for this Nashville show. Schermerhorn —MAKKADA B. SELAH SATURDAY, 16TH BLOCK PARTY PRESENTS: DILLA 4 EVER W/COOLOUT Outside of the Vatican, a Krispy Kreme donuts shop may be the most unlikely spot to hold a hip-hop event. Two rap producers, coolout and Bowls, host the party to pay tribute to one of their own who passed away recently, James “J Dilla” Yancey. Dilla, who died from complications of lupus earlier this year, produced artists like The Roots, Tribe Called Quest, Common and The Pharcyde, and was loved as much for his humble personality as his skills on the boards. Bowls and coolout are holding a benefit at the home of gooey confectionary goodness to express their love for Dilla, whose last record was called Donut, and donuts. They’re suggesting a donation of $5 at the door: the five spot may get you a free Donut (or schwag from Stones Throw Records, Dilla’s label), but the money will definitely help the Lupus Research Institute (lupusresearchinstitute.org). 8 p.m. at Krispy Kreme Donuts, Thompson Lane —MARK MAYS JEFF COFFIN MU’TET One of Nashville’s most tireless musicians, saxophonist Coffin stays busy with Bela Fleck & the Flecktones and numerous recording sessions, not to mention frequent guest appearances, such as an upcoming New Year’s Eve show at Chicago’s Aragon Ballroom with rising jam band Umphrey’s McGee. But Coffin shines most as the leader of his own band, The Mu’tet. More firmly rooted in jazz than his other endeavors, The Mu’tet blend hard bop, soul jazz and extended modal jams and put on an exceptional live show. This edition of the Mu’tet features fellow Flecktone Futureman (who will set down his Drumitar to play acoustic drums), keyboardist/flutist Kofi Burbridge (Derek Trucks Band) and Felix Pastorius, son of the late electric jazz bass pioneer Jaco Pastorius and a terrific player in his own right. This is an all-ages, nonsmoking show. 3rd & Lindsley —JACK SILVERMAN SUNDAY, 17TH DEANNA VARAGONA As do many Nashville musicians, Deanna Varagona works in a variety of settings. A talented multi-instrumentalist and singer, she’s performed as a member of Lambchop and with avant-folkies Bevel. Her 2003 The Goodbyes Have All Been Taken is a well-turned gloss on alt-country. Tonight’s setting ought to be interesting, since Varagona plans to play a set of classical piano pieces on the Springwater’s newly acquired Kimball upright. The program will include Bach’s “Musette in G,” French composer Charles-François Gounod’s “Ave Maria” and Rachmaninoff’s “Humoresque.” She’ll round things out with pieces by American composers Scott Joplin and Samuel Barber, both of whom had a way with rhythm. Get some culture, and grab a beer while you’re at it. (deannavaragona.com) 4 p.m. at Springwater —EDD HURT TUESDAY, 19TH JAMES HAND This grizzled Texas honky-tonker compares himself to an aginSUNDAY, 17TH g gambler who’s lost his touch on the recent song, “Just an Old Man With an Old Song.” In reality, though, after four decades of dance-floor shuffles and beer-hall ballads, the 54-year-old Hand is finally on a winning streak. His latest album, The Truth Will Set You Free, is his first to get national distribution, and has drawn raves on such disparate fronts as NPR, CMT and No Depression magazine. With sympathetic production by old pros Lloyd Maines and Ray Benson, Hand delivers original tunes in a classic-country style that asserts its timeless virtues with the effortlessness of an old horse trainer—which is the singer’s other occupation. With his brushed-leather voice and the sincere sentiment of his songs, Hand doesn’t need to grandstand about his authenticity. Like a good ranch hand, he lets the quality of his work do the bragging for him. (jamesslimhand.com) 3rd & Lindsley —MICHAEL McCALL WEDNESDAY, 20TH NASHVILLE MANDOLIN ENSEMBLE W/JULIE LEE AND SARAH SISKIND A jewel of an ensemble that ranges effortlessly from Bach to Beatles (as the title of their last CD has it) to bluegrass, the Nashville Mandolin Ensemble tend to be at their busiest during the holiday season. No surprise, given their glistening Christmas music disc, Evergreen. Led by Blair School of Music faculty member Butch Baldassari (a onetime member of ’grass outfits Weary Hearts and Lonesome Standard Time whose abilities begin, but don’t end, with a mastery of Bill Monroe’s approach to the instrument), the group match the breadth of their repertoire with crafty, subtle arrangements and seemingly endless virtuosity. Singer-songwriters and Old Black Kettle bandmates Julie Lee and Sarah Siskind, whose intimate blend of roots forms and pop influences has drawn increasing attention over the past couple of years from artists such as Alison Krauss and Mark Newton, will get the show started in typical Bluebird style. Bluebird Café —JON WEISBERGER DANCE NUTCRACKER Nashville Ballet presents Tchaikovsky’s holiday classic with renewed zeal every year. The dancers’ heartfelt performances receive ample support from the Nashville Symphony and the 175 members of the company’s youth cast, each of whom hails from Middle Tennessee. Moreover, the ballet knows how to please the audience, casting local celebrities in the role of Mother Ginger, which generally requires nothing more than a smile and the willingness to be a good sport. (This year’s Mother Ginger roster includes car-racing great Darrell Waltrip, deejays Trish and Lulu of Venus FM, singer-songwriter Hal Ketchum, TV sports reporter Rudy Kalis and Tennessee Titans tight end Ben Troupe.) The eight performances, Dec. 15-23, are in TPAC’s Jackson Hall. Call 255-ARTS (2787). —MARTIN BRADY ART “MISSILETOE” Untitled Artist Group’s winter show takes place at Lucky’s Garage, 14th and Church Streets, from 6 to 10 p.m. on Friday, Dec. 15. It will have the elements we expect from Untitled’s quarterly, one-night-only shows—work by as many as 100 artists exploring all the normal (and some abnormal) media with styles and themes to please or offend every taste. And by the way, the group’s show is playing off the word “mistletoe,” not misspelling it. When Untitled ends at 10 p.m., Lucky’s converts from temporary art gallery back to dance club. For more information, visit www.untitlednashville. org. —DAVID MADDOX BEN CALDWELL AND TOM TURNBULL Metalsmith Caldwell makes striking serving utensils in copper and silver, bent and hammered into often surprising botanical forms. His work will be on display with ceramicist Tom Turnbull during an open house at the Caldwell Collection from 10 a.m. to 5:30 p.m. on Dec. 15 and 16. —DAVID MADDOX FILM IT’S A WONDERFUL LIFE Merry Christmas, Bedford Falls! See James Stewart’s George Bailey become the richest man in town at the Belcourt’s annual screening of the Frank Capra classic, a Nashville tradition that brings a new crop of young first-timers every year. We’ve even heard folks sing along with the closing rendition of “Auld Lang Syne” onscreen. It starts Friday and runs through Christmas weekend; see belcourt.org for show times. Hey, was that a bell ringing…? —JIM RIDLEY MOVIES @ MAIN: CHRISTMAS EDITION Once a month, the downtown Nashville Public Library offers a free movie projected on DVD. We can’t really mention the title of this month’s holiday-themed attraction, but the seeming oxymoron “a Chevy Chase classic” would not be inappropriate. In other words, “we’re gonna have the hap-hap-happiest Christmas since Bing Crosby tap-danced with Danny fucking Kaye.” (Be advised that this particular cup of eggnog may be a bit stout for the young’uns, if you catch my drift.) Start your Christmas vacation 6:15 p.m. Thursday at the library’s auditorium; call 862-5800 for more information. —JIM RIDLEY EXIT 38 Nashville actor Tommy Barnes wrote this indie shocker about two FBI agents who sharpen their stakes in a desolate small town when a vampire overlord makes it personal. Featuring action-movie vets James Hong and Martin Kove—as well as Barnes in the role of “redneck trucker guy” Crazy Clyde—the thriller gets its first Nashville screening on DVD at the Watkins Film School’s screening room 8 p.m. Thursday, preceded at 7 by the Alliance of Film and TV Actors’ Christmas party. See afta-tn.com for more information. —JIM RIDLEY CHARLOTTE’S WEB Seeing this fills me with dread for any number of reasons—among them that I reach instinctively for Kleenexes at the mention of the title. But advance word is strong about Gary Winick’s live-action version, with Dakota Fanning as Fern and Julia Roberts as the voice of Charlotte, the maternal spider who teaches the “wonderful” pig Wilbur about the seasons of life before she…sob! See the review in our Movie Listings on p. 85, along with recaps of other new releases. —JIM RIDLEY FILMS YOU MIGHT HAVE MISSED: A PRAIRIE HOME COMPANION The line for second chances forms at the Belcourt’s ticket window, as the Hillsboro Village theater hosts a two-week recap of momentous 2006 films that merit another look. Among these is the late Robert Altman’s swan song, as gentle and affectionate an epitaph as one would hope, along with Ryan Gosling’s heavily buzzed performance in Half Nelson, Richard Linklater’s animated head trip A Scanner Darkly, Michel Gondry’s romantic fantasy The Science of Sleep and Neil Marshall’s well-received horror hit The Descent. For more information, see our Movie Listings on p. 85, with screening dates and show times available at belcourt.org. —JIM RIDLEY