A special feature: 25 for 25
25 Memorable Moments to Celebrate 25 Amazing Years as Nashville’s Community Center for Jazz
This is a mobile-friendly version of our 25 for 25 special web feature, which can be found at nashvillejazz.org/25for25
25 years ago Nashville Jazz Workshop
was officially founded.
But its story doesn't begin with a business plan. It begins with a "lightbulb moment" in a Belmont classroom, a pro-bono lawyer calling out of the blue, and a flash of pure "kismet."
It's a story of vision—of founders looking at a "bombed out" underground machine shop and seeing a world-class venue. It's a story of profound community—including an angel landlord, an obsessive listener, and student volunteers who showed up with toolbelts to paint pipes, stick foam to the ceiling, and buy a Steinway piano one key at a time.
Over the next two-and-a-half decades, a fledgling “institute” would earn a global reputation, survive a pandemic by taking its entire community online, and find a rebirth in a new home on Buchanan Street.
This is the story of that journey, told in 25 defining moments.
Scroll down to explore the "25 for 25" list and discover the moments that built a home for jazz in Music City.
The “Lightbulb Moment” (c. 1997)
The idea for the Workshop came from its future students.
While Lori Mechem was teaching at Belmont University, two students, Jerry Navarro and Chris West, came to her seeking deeper instruction in jazz. Lori furthered their knowledge by teaching them the fundamentals of playing gigs and learning songs from the Great American Songbook. Lori began holding informal $10 lessons in her office, and the "light went on" when the students insisted on continuing their lessons over the summer, driving 35 miles to Lori and Roger Spencer’s log cabin. This proved the powerful, unmet demand for a new model.
In 1998, they formed the "Nashville Jazz Institute" (NJI), subletting a rough space at 5th and Lafayette from the Nashville Percussion Institute and starting with just two classes.
2. The First Classes (1998 - 2000)
Classes at the Nashville Jazz Institute were an immediate draw, and students of all ages came to study with top Nashville professionals, including Beegie Adair, Rod McGaha, Jeff Coffin, Charles Dungey, and of course, founders Lori Mechem and Roger Spencer. Vocal literature classes focused on the Great American Songbook, ensembles covered styles of legendary bandleaders such as Art Blakey, Wayne Shorter, and Herbie Hancock, and improvisation classes dealt with topics such as the blues, “rhythm changes,” and styles of jazz masters such as Charlie Parker and Wes Montgomery. The number and variety of classes quickly grew and enrollment swelled.
3. The First "Tip Jar" Gigs (c. 1999)
The NJW's "journeyman/apprentice" model meant getting students out of the classroom and onto the bandstand. Early students like Annie Sellick, Liz Johnson, Larry Seeman, Jerry Navarro, and George Yanok began playing "tip jar" gigs at places like Bean Central and Michelangelo's Pizza. This was where students worked out how to lead a band, build a repertoire, and develop a fan base, putting their classroom theory into practice in the real world.
4. The Official Launch: The Pro-Bono Lawyer and Nonprofit Incorporation (2000 - 2002)
As the Institute grew, it needed to formalize. In a moment of "kismet," a lawyer named Scott Richardson called out of the blue. He had just moved to town and offered, "I do a lot of pro bono work for arts groups. Is there anything I can do for you?"
He handled the entire complex 501(c)(3) application for free, securing the organization's nonprofit status in 2000, with IRS tax-exempt status granted in April 2002, though backdated to 2000. The Workshop's very legal scaffolding was, like its student body, volunteered by a community that wanted it to exist.
5. Building "The Cave" (2000-2001)
This moment is a three-part story of vision, patronage, and sweat equity.
The Vision: When student Tony Kerr suggested the abandoned Neuhoff meatpacking complex, landlord Stephen McRedmond showed them an underground machine shop. Lori's recollection was stark: "There were no windows and no walls. It looked bombed out like East Berlin". But Lori "could see everything" and declared, "This is it.”
The Angel Landlord: McRedmond was the Workshop's biggest fan and champion. He donated every chair and table in the Jazz Cave and even paid $20,000 to blast through nine feet of concrete to build the code-required emergency exit, the single act that made the Cave a viable public venue.
The Sweat Equity: The space was physically built by its community. A "painting day" was held, with students and faculty (including board members Jody Faison and Elyse Adler, students Liz Johnson and Jerry Navarro, and Graham Gerdeman and Denis Solee) painting pipes, trim, and sticking acoustic foam to the ceiling. This volunteer labor forged an intense bond of ownership, opening on March 24, 2001.
6. The First Annual Fundraiser (2001)
Becoming a nonprofit organization made it easier to solicit and receive donations. The first Annual Fundraiser was held at Cafe 123, a restaurant operated by restaurateur and NJW Board member Jody Faison, that featured jazz on weekends. Jody donated the venue and the food, student and professional musicians donated their services, NJW supporters in the community donated items for a silent auction, and volunteers staffed the event.
The event netted $1,500, which at the time was large for NJW! For several years that followed the proceeds doubled, continuing until the fundraiser became an integral part of NJW’s budget, helping to fund expenses for community activities not covered by class tuition or concert ticket sales.
7. The First "Master": Beegie Adair Plays the Inaugural Master Series (2002)
Now in their "bombed out" home, the NJW needed to prove it was a serious venue. In February 2002, they launched the Jazz Master Series, and the headliner for the very first concert was the legendary Beegie Adair. Adair, one of Nashville's most beloved jazz figures and an early faculty and board member, gave the new venue its first major stamp of legitimacy. Her performance was a powerful co-sign, signaling to the entire Nashville community that this "Cave" was a world-class performance space.
WATCH: Beegie Adair performs “Autumn Leaves” at the Jazz Cave
8. Jazz Day for the Community: “Jazz at the Workshop” (2003 - 2005)
Classes at were thriving and student recitals and occasional concerts were held in the Jazz Cave, but the NJW staff and Board wanted to spark interest and awareness of jazz in the larger community. Plans were drafted for a “Jazz Day” with mini-classes throughout the day and an evening concert in a larger venue. In yet another moment of serendipity the Metro Arts Commission had some unspent funds, had NJW’s rough outline on its desk, and decided to fund “Jazz at the Workshop.”
The event took over the entire Neuhoff Complex and had classes ranging from “Jazz 101” (taught by NJW students Linnie Yarbrough and Larry Seeman) to “The Blues” taught by Rod McGaha. McGaha and jazz great Kirk Whalum led coaching sessions for high school jazz bands and an evening concert was held at the Belcourt Theater with visiting saxophonists Jamey Aebersold and TSU alum Andy Goodrich. A large group of volunteers pitched in to help run the successful event, which ran annually for three more years with visiting jazz greats including Mark Levine, Roy McCurdy, Bobby Millitello, Houston Person, and Ed Thigpen.
9. Saying Goodbye to a Jazz Titan: RIP Charles Dungey (2003)
Bassist, vocalist, and educator Charles Dungey was the epitome of a Nashville jazz artist. After his musical training at TSU, he went on to a national career as a touring and recording artist before returning to Nashville to lead the TSU jazz band and teach at NJW. Although he never recorded as a vocalist, his powerful baritone on a tune such as “Please Send Me Someone to Love” could “blow the roof off” a venue as he did in a Master Series concert.
A beloved vocal teacher at NJW, the entire jazz community was stunned by his sudden passing in 2003. His family established a scholarship fund in his name at NJW, as promising vocal students keep his legacy alive.
10. The Birth of a Tradition: The "Snap on 2&4" Concert Series (2004)
Launched in 2004, this concert series, held on the second and fourth Friday of each month, transformed the NJW from a school into the de facto home of Nashville's professional jazz scene.
The name "Snap on 2&4" was a joke that stuck during a board meeting. The series provided what local musicians craved: a venue where you could "hear a pin drop", actively elevating the entire city's performance standard.
11. The "Jazz on the Move" Series (c. 2000s - Present)
This free community program epitomizes the NJW's outreach mission to bring top-notch jazz out to the community in beautiful venues like the Frist Art Museum, Nashville Public Library, Plaza Mariachi, TSU, Fisk, and Belmont. The long-running series consists of free Sunday afternoon lecture/performances, with each event focusing on a major figure or period in jazz history.
To date, NJW has presented over 60 Jazz on the Move concerts. Past concerts have explored the music of artists like Thelonious Monk, Ella Fitzgerald, Nancy Wilson, Charles Mingus, Louis Armstrong, and Jimmy Van Heusen.
WATCH: Our Jazz on the Move playlist
12. The People's Piano: The "You Can Be a Key Player" Campaign (2008)
For the Workshop's first decade, the rhythm section relied on a piano that had more character than pedigree. Affectionately nicknamed "The Doberman," the instrument was a visual mismatch of black and brown wood—a "mutt" of an instrument that was decidedly not concert-ready.
In 2008, it was time to retire the Doberman for a dream model: a pristine Steinway B. But the price tag of over $31,000 was steep. In a stroke of fundraising brilliance, NJW board member and student Scott Chambers helped secure a loan to acquire the instrument immediately and spearheaded the "You Can Be a Key Player" campaign to pay it back. The concept was simple: "sell" each of the piano's 88 keys for $361.36.
Lori announced the campaign at a "Snap on 2&4" concert. As she recalls, "On the break, we sold 25... We paid the full $31,000 back in six weeks.” The Doberman was retired, and the new Steinway—bought key-by-key by the people who listened to it—took its place on stage.
13. The George Tidwell Library: An "Obsessive Listener's" Gift (c. 2007-2010)
The NJW's "workshop" model has always been for "players & non-players", and no moment proves this better than the creation of its library. Mark Edwards, a non-musician and self-described "obsessive listener", had amassed a collection of over 5,000 compact discs. He offered the entire collection to the Workshop, saying, "I think they need a home.” Edwards then spent the next three years cataloging every single CD, becoming the curator of what was named The George Tidwell Jazz Library, so named because George was an old friend who introduced Mark to jazz and guided his listening.
14. "Ellingtown": The Puppet Show that Paid Tribute to A Jazz Legend (2008 - Present)
This moment captures NJW's expansion into children’s programming. The Workshop partnered with the Nashville Public Library’s nationally-recognized Wishing Chair Productions to "marry jazz music with very young children.” The result was Ellingtown, an original puppet show about Duke Ellington, featuring music recorded by NJW faculty.
The show was a national model project seen by thousands and inspired the Country Music Hall of Fame to create its own puppet show. As Lori proudly declared, "We did it — jazz first.” Ellingtown is archived at NPL and continues to be periodically featured at the puppet theater at the downtown library and on their traveling puppet truck.
WATCH: Ellingtown, presented by Nashville Public Library’s Wishing Chair Productions and Nashville Jazz Workshop
15. The Party of the Year: "Jazzmania" Annual Gala (c. 2000s - 2024)
Jazzmania was more than just a fundraiser; it was the "party of the year" for Music City’s jazz community. For over two decades, this gala eschewed the typical stuffy dinner vibe for a high-energy celebration of swing, often held in historic venues like Liberty Hall at The Factory.
While the event is the cornerstone of the Workshop's financial health—underwriting scholarships and outreach programs—its reputation was built on the bandstand. The evening traditionally featured a one-night-only "Jazzmania All-Star Band," a supergroup of Nashville’s finest players created specifically for the event. It is the one night where patrons, students, and faculty mingle in cocktail attire to celebrate the music, resulting in a spirited live auction where the community puts its money where its heart is to keep jazz alive in Nashville.
16. The "Wall of Sound": The Big Band Legacy (2011 - Present)
There is nothing quite like the physics of a 17-piece big band performing in an intimate jazz club. It is a visceral, "blow the roof off" experience that has become a beloved tradition at the Workshop.
This legacy was cemented in 2011 by the legendary drummer Duffy Jackson. A veteran of the Count Basie Orchestra, Jackson brought his explosive energy to the Jazz Cave, squeezing a roaring big band onto the small stage and setting a standard for large-ensemble performance on our stage. That tradition continues to thrive through modern ensembles like the Ryan Middagh Jazz Orchestra, which brought its all-star lineup of studio musicians to the Workshop as early as 2021, and the Music City Big Band, which highlighted the scene's depth in 2023. Whether hosting local titans or visiting ensembles like the Stephen Phillip Harvey Jazz Orchestra and the Brandon Moore Big Band, these nights remind us of the sheer power of acoustic jazz.
WATCH: The Duffy Jackson Big Band performs "Topsy"
WATCH: Ryan Middagh Jazz Orchestra performs "Wiley Roots" LIVE at NJW
WATCH: Stephen Philip Harvey Octet performs "Fuel the Flame"
17. The "Jazz Heroes" Award: National Validation (2011)
In 2011, the Jazz Journalists Association (JJA) provided a profound validation of the NJW's entire ethos. The JJA named Lori Mechem and Roger Spencer "Jazz Heroes.” This national award was not for their musicianship, but for being "activists, advocates, altruists, aiders and abettors of jazz who have had significant impact in their local communities.” It was a powerful external recognition of the 10+ years of community-building that defined the organization.
18. The "Best Kept Secret" Goes Global: The Downbeat Recognition (2011)
For years, the Workshop was lovingly called "the best kept secret in Nashville.” This moment is when the secret got out. The February 2011 issue of Downbeat Magazine named the Cave one of the “top 150 jazz rooms” in the world. The Cave has consistently been included on this list ever since.
19. Investing in the Future: Summer Jazz Camp (2014 - Present)
By 2014, the Workshop had established itself as a haven for adult learners and professionals, but the mission required looking forward to the next generation. That year, NJW launched the Summer Jazz Camp, a program specifically designed for promising high-school-aged musicians.
For the first three years, the camp was held at the Workshop. However, the program proved so successful that it physically outgrew the space, leading to a strategic move to Vanderbilt University’s Blair School of Music for the next three years. Following a dormant period during the COVID-19 pandemic, the camp resumed in 2022 and is still hosted at Vanderbilt today.
The camp immerses young musicians in a full week of intensive jazz education, covering theory, group performance, and improvisation through ensembles. Uniquely, it also teaches students the "business side" of music—essential knowledge often missing from standard curriculums. Taught by some of Nashville's very best jazz musicians and educators, including faculty from Blair, the week culminates with students performing in ensembles in front of family and friends, proving that the future of jazz in Nashville is in good hands.
20. Fruits of Our Labor: Notable Alumni and Returning Stars
The true measure of a school is its students. Over 25 years, NJW has seen thousands of musicians pass through its doors, many of whom have gone on to shape the national jazz conversation.
Perhaps most notable is Blue Note recording artist Kandace Springs. Before touring the world, Springs honed her craft in Nashville and has performed on the Workshop stage, a testament to the organization’s role in incubating world-class talent. This culture of "reinvesting" in the Workshop extends to other stars as well, such as Rachael Price, lead singer of the chart-topping band Lake Street Dive. Price returned to the Workshop to lead a master class in 2018, sharing her experience with the next generation.
Most recently, the spotlight has fallen on piano phenom Tyler Bullock II. A product of the Workshop’s youth programs and a Billy Strayhorn Scholarship recipient, Bullock has taken New York City by storm. He has already performed with heavyweights like Sean Jones, Ulysses Owens Jr., and serves as the pianist for the Roy Hargrove Big Band. Bullock graduated this year from Juilliard and is now pursuing his master’s degree.
When these artists succeed globally and return locally they prove that the Workshop isn’t just a school; it is a lifelong artistic home.
WATCH: Kandace Springs performs live with Kirk Whalum
WATCH: Rachael Price sings “When I’m Not With You”
21. Pandemic Pivot: Keeping the Community Alive While We Were Physically Apart (2020)
The COVID-19 pandemic posed an existential threat to an organization built on intimate, in-person learning. NJW pivoted with remarkable speed, launching successful solutions using online technology.
Classes met for online instruction via ZOOM, and a Jazz From Home concert series was streamed via YouTube. Even our annual Jazzmania gala was transformed into a "first-ever global online listening party," to raise money during the organization’s 20th anniversary, winning a Telly Award for best online fundraiser in the process. This moment of forced innovation had a paradoxical effect: the physical isolation nationalized the Workshop's reach, attracting participants from all but four US states and creating a new, permanent hybrid model for the organization.
WATCH: Jazz From Home featuring Chris Walters
22. NJW’s Move & Buchanan St. Rebirth (2019 - 2021)
In 2019, the long-rumored redevelopment of the Neuhoff complex became a reality, and the NJW was forced to leave its 19-year home. Lori Mechem called the move "gut-wrenching" as demolition was happening around them. After a long, pandemic-extended delay, NJW celebrated the grand opening of its new home at 1012 Buchanan St. on July 24, 2021.
The move was a strategic rebirth, planting the Workshop in the burgeoning Buchanan Arts District in historically Black North Nashville in a former church and funeral home—prompting Lori's defiant, perfect joke: "Jazz is not dead.”
WATCH: News Channel 5’s 2021 interview with Lori and Roger regarding the move to Buchanan Street
23. The Next Generation of Listeners: The Launch of "Jazz AM" (2021 - Present)
The first major new program launched in the Buchanan Street home was Jazz AM, a free monthly Saturday morning series for children (ages 2-10) and their families. Created by Catherine Holder Dugger with set and puppet design by Brian Parker and music curation by Lori Mechem, the program builds upon the success of "Ellingtown" and brings it in-house.
Hosted by vocalist Crystal Miller, the show features a world-class band including Roger Spencer and drummer Chester Thompson alongside puppeteers Parker, Justin Colon, and Craig Freeman who bring characters 'Mingus the Bass' and 'Monk the Piano' and ‘Max the Drums’ to life. Using music, puppets, improvisation, rhythm, and movement, the program is a massive, intentional investment in building the next generation of listeners, cementing the NJW's role as a true community center in its new neighborhood. It has been a hit, with families making it a can’t-miss part of their calendar and two-time recognition by Nashville SCENE as a ‘Best of Nashville’ selection.
WATCH: Jazz AM explores the music of Ella Fitzgerald
24. Passing the Torch: Honoring Our Giants
Jazz is an oral tradition, passed down from master to student. In recent years, the Nashville jazz community has suffered the heartbreak of losing some of its most beloved giants—titans who were not only world-class performers but dedicated mentors.
We mourn the loss of foundational figures like the incomparable pianist Beegie Adair, the high-energy drummer and bandleader Duffy Jackson, and most recently, the legendary saxophonist Denis Solee. While their passing left a void on the bandstand, it also sparked a renewed sense of purpose at the Workshop. Their legacy is not static; it is active. Every time a student learns a tune Beegie loved, or plays with the joy Duffy brought to the room, the torch is passed. The Workshop remains dedicated to training young musicians to carry that flame forward, ensuring the music of these giants outlives us all.
25. The Inaugural Nashville Jazz Festival (2025)
A crucial moment for the future of NJW occurred as it entered its 25th year. In early 2025, David Rodgers was named the new Executive and Artistic Director of the organization. Under Rodgers’ leadership, NJW has strived to reach new audiences and learners while curating and presenting the beautiful diversity of sounds and sub-genres that encompass jazz in its second century of existence.
A major milestone in that effort came in October 2025, when NJW hosted the "inaugural Nashville Jazz Festival.” Rodgers recruited longtime NJW collaborator and Nashville community member Jeff Coffin to serve as co-artistic director of the festival and curate the artist lineup. Held at 3rd & Lindsley, the sold-out, two-day event presented 13 different acts and over 70 musicians—all of them paid. The lineup featured nationally recognized headliners like Tia Fuller, Cory Wong, and Coffin himself, while putting a major spotlight on Nashville's amazing home-grown jazz talent, including Marcus Finnie, Emmanuel Echem, Sofia Goodman, Tyler Bullock II, Don Aliquo, Chris Walters, Ralph T. Lofton, the Vanderbilt Blair Big Band, and the NJW Rising Stars, among others. Fans listened around the country through an online livestream, with Lightning 100 broadcasting the Sunday night headliner. The event raised over $50,000 for the Workshop's mission while raising awareness of our organization among hundreds of first-time audience members and listeners.