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Sounds From The Underground Concert Series Anniversary (Featuring KENOSHA KID & BRIAN HOGANS)
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Sounds From The Underground Concert Series Anniversary (Featuring KENOSHA KID & BRIAN HOGANS)
Sounds From The Underground was formed in February of 2012 by Jacob Deaton...who had realized after countless late night talks with Atlanta-based musicians that more venues were needed to support art based music.  As we celebrate a year that featured over 40 different composers and hundreds of musicians we've decided to celebrate!  

From Feb 11th-16th Elliott Street Pub will feature the best acts of this year PLUS brand new acts yet to be seen by audiences to celebrate the year gone by and the the years to come!  Be apart of the movement in ATL!  Creative music lives HERE!

****KENOSHA KID*****

Dan Nettles :: Guitar & Composition

My name is Dan Nettles and I am the bandleader, composer, and guitarist for Kenosha Kid. Forgive me for writing this in the first person, but when a convention interferes with getting the point across, perhaps it can be discarded? In fact, much the same could be said about the music I make, which others have described as "some kind of as yet unlabeled jazz" (All About Jazz), as music "played through an Andy Warhol filter and served up Thomas Pynchon style" (Savannah Now), and as "jazz as if Kenny G and Wynton Marsalis never came along to ruin the genre's mainstream" (Flagpole Magazine). I would agree with most of these clever descriptions, although I have point out that I do enjoy Wynton's music, if not all the things that he says. (We all should talk less and play more, in the end.)

I live in the town I was born in, a pleasant college town in The South called Athens, Georgia. Athens is a place that's cheap to live, the days are long, and is a musical crossroads between older roots-music and uber-hip indie rock stars. Growing up here was like some sort of crazy musical cross pollination, and as I get older I readily recognize that this constant crossfire of influences had much to do with the shape of my artistic path.

It wasn't exactly easy, however. I began playing guitar with my father both kinds of music: "country AND western" (as described in The Blues Brothers). I had a hefty concert band education, and took band class to its small-town limit. Music never made me popular I wasn't one of those kids that could sing, or crank out the hits like a jukebox. Rather, I had trouble playing a song the same way twice, and was always making up riffs with friends... repeating phrases I'd hear in my head, then improvising off them. Somewhere along the way, I heard Wes Montgomery, Pat Metheny, and John Scofield, and I thought this was what I wanted to try. At 18, I packed myself up to Boston, dived into some serious research, and emerged 4 years later armed with a carload of tools, but with no small spiritual loss. At that time I often pondered, "Is jazz just a musical pissing contest?"

dan nettlesReturning to Georgia, I spent the next several years getting all the performing experience that Boston never provided me. I still was struggling with musical identity. There seemed to be so many jazz "do-s and don't-s", and no way to fulfill them. I began to enjoy the rock scene more and more: there were fewer rules, everyone was a novice, and everyone was doing "their thing" regardless.

At this point, I attended the Banff International Jazz Workshop, and was thrilled to find a world of musicians in the same boat. Trumpeter Dave Douglas urged me to return to my home, make a scene happen, and write for people I know: I did just this, and came up with my first body of work, documented on the CD Projector. It was a relief to explore unusual instrumentation, work with strong improvisers regardless of idiom, and in general let the musical past be the past.

More material followed: commissions for an all new score for Buster Keaton's silent film Steamboat Bill, Jr, music for the theatrical piece I, Marlena, and ten selections inspired by Ray Bradbury's sci-fi classic called Fahrenheit. I embraced an incredible, world-wide group of peers who inspire me to this day. I began adding other elements: vocalists, films, or dancers, and they each served to disarm the expectations of the audience and the band members. The music propelled several tours of Europe, engagements in Canada and along the west coast, playing in jazz clubs, rock clubs, and independent film houses.

My prime directive still stands: "Create new worlds". In a week, I am wiling to wear many hats performer, composer, teacher, booker, promoter, designer to fulfill a vision. Whatever I involve myself in, I make it a point to know the rules but never crucify myself to them, and above all listen to my ears and trust my instincts.


Saxophonist/pianist Brian Hogans has one of the most dynamic, exhilarating, and fervent sounds of today's young jazz artists. Described as "fluid, fiery, yet subtle", Hogans pushes the creative envelope when composing and playing, setting new artistic limits for fans and musicians alike. Hogans has just released his debut solo album on Turnaround Records, titled Evidence of Things to Come.

Hogans' background includes a lifetime of playing music. Hailing from Morrow, GA, he has wailed on the saxophone for over 15 years and played the piano since childhood. Hogans describes that "I chose jazz because I loved its rhythms and harmonies, and because it was different. No one around me was listening to or playing jazz at the time." Hogans was introduced to jazz by his older brother, Lee, who is now a talented R&B/pop trumpet player in his own right. Lighting up the stage today as either a saxophonist or pianist, Hogans has studied under noted jazz masters like Danny Harper, saxophonists Bunky Green, Don Bradan, and Antonio Hart, and the late great pianist James Williams. Honing his skills throughout the years, Brian has studied and played as part of the Steins Institute of Jazz and the Betty Carter Jazz Ahead Program.

Hogans' artistic influences come from all corners of the musical landscape. On the saxophone, they include Sonny Stitt, Bird, and Coltrane, among others. On the piano, Hogans credits Cedar Walton, Herbie Hancock and Chick Corea as favorites who have helped him craft his unique musical voicing. Says Hogans, "I enjoy how jazz is always changing. There is such a depth to its creative possibilities. I am passionate about harmony, and about the vast artistic options available by manipulating harmonies in my work."

Hogans has performed with some of the great artists of today's jazz scene, including James Williams, Winard Harper, Russell Gunn and Marcus Printup. Hogans may be best known, though, as part of the critically acclaimed and award-winning Sean Jones Quintet. In addition to playing and touring with the ensemble, he has played saxophone on two recent Sean Jones albums, Kaleidoscope and The Search Within. In its recent review, Hippo Press said of The Search Within, "I can't imagine anyone finding a single fault with this album aside from its utter lack of imperfection." Two songs from the album, "Blak Music" and "Summer Spring", were also composed by Hogans.

Playing on numerous other recordings, Brian has contributed to three Russell Gunn albums: Bionic: Krunk Jazz, Love Stories and The Return of Gunn Fu. He has played on Greg Diamond's Dancando Com Ale and played piano on Will Scruggs BlueBari Jam.

Hogans' has performed at numerous well-known venues throughout the world, including dates with the Sean Jones Quintet at the Detroit Jazz Fest, Chicago Jazz Fest, The Jazz Standard and Iridium in New York, The Dakota in Minneapolis, Jazz Bistro in St. Louis, Snug Harbor in New Orleans and Yoshi's in Oakland, CA. He has toured in Italy and Germany, and he also plays frequently in the Atlanta, GA area with trumpeter Russell Gunn and with his own collaboration. For fans and jazz lovers, Brian can frequently be heard at Churchill Grounds in Atlanta and also at Blue Note and Groove in New York.



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Minimum Age: 18
Kid Friendly: Yes!
Dog Friendly: No
Non-Smoking: Yes!
Wheelchair Accessible: No


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