Sunday, February 17, 2019

Eighth Blackbird Comes Home for 2019 Performances in Chicago

Four-time Grammy Award winner Eighth Blackbird, which aims to move music forward with innovative chamber music performance, comes home to Chicago in 2019 with a series of concerts showcasing the ensemble members together and in smaller configurations, performing new works from its international touring program.
Rather than engaging Chicagoans from a single location, as the ensemble did in 2016 with a yearlong MCA residency, this spring Eighth Blackbird brings programs to a variety of venues and neighborhoods on a range of days and times. Between March and October, the ensemble collaborates on a series of events with private and public cultural partners. The trajectory leading to the 2021–22 season, the group’s 25th anniversary, is anchored by Chicago partnerships, old and new, including three projects with Cedille Records.

“We have a deep commitment to bringing new, groundbreaking work to audiences in our hometown,” said ensemble member Nathalie Joachim. “Eighth Blackbird aims to change the circumstances in which concerts occur by removing barriers for new listeners to experience some extraordinary 21st century work and some very special collaborators we’re bringing to the city. The wider the ensemble’s international reach, the greater the opportunity, and obligation, for Eighth Blackbird to bring it all home.” 
Spring performances
Eighth Blackbird’s first major appearance is ice ’n’ SPICE, an eclectic acoustic concert that features the sextet performing together. The concert, which takes its title from a work on the program written by LA-based composer and Blackbird Creative Lab alumna Nina Shekhar, also includes Electric Aroma by Lab alumnus Viet Cuong and Eroding by Iceland-born Lab alumna Fjóla Evans, three of 12 new works commissioned by Elizabeth and Justus Schlichting for the Blackbird Creative Lab in 2017 and 2018. The Clarity of Cold Air by Jon Holland, Lobster Tales and Turtle Soup by Holly Harrison (which won Eighth Blackbird the Performance of the Year award at Australia’s Art Music Awards in 2017), and Stay On It by Julius Eastman round out the evening. ice ’n’ SPICE takes place Monday, March 25 at 7 p.m. at City Winery, 1200 W. Randolph Street, Chicago. Tickets are $22–32 and available at

Eighth Blackbird joins the lineup of Steppenwolf’s LookOut Series with DISSOLVE, an evening featuring the six ensemble members performing in their signature full-group form, as well as in smaller subsets showcasing their playful, intimate, and spirited versatility. The program includes works by Chicago Symphony Orchestra Mead Composer-in-Residence Missy Mazzoli, Blackbird Creative Lab alumnus Viet Cuong, Puerto Rican-born Angélica Negrón, 2018–19 Rome Prize winner Jessie Marino, and more. DISSOLVE takes place Friday and Saturday, May 17 and 18 at 8 p.m. at Steppenwolf’s 1700 Theatre, 1700 N. Halsted Street, Chicago. Tickets are $35 general admission, $15 for students, available through Steppenwolf’s box office later this spring. Ensemble members will join audience members in Front Bar for conversation after the performance.

Other spring activities
Among its priorities, Eighth Blackbird has long been committed to the development of the next generation of performers and composers through commissions, presentations, mentorship, and educational programs including its Blackbird Creative Lab, a professional training program and artistic community for emerging music and interdisciplinary artists.  After two summer intensives in California, in 2019 Eighth Blackbird is focusing on the Lab’s long-term artistic and career development goals for its first 60 alumni with activities including regional showcases for Lab alumni and a reunion in Chicago featuring performances at such intimate venues as Elastic Arts (March 15) and the ACE Hotel (March 17) and an appearance on “Live from WFMT” on 98.7FM (March 18). More information is available at Lab alumni will also be showcased in June in Chicago and at the Great Lakes Festival in Michigan alongside the sextet.

This week the National Endowment for the Arts recommended Eighth Blackbird for a $20,000 grant to renew its major support for the Blackbird Creative Lab in 2019. The Paul M. Angell Foundation is supporting the weekend of Chicago reunion events, including the free public concert March 17 at the Ace Hotel and the “Live from WFMT” broadcast the following night.

Other spring performances to date include the ensemble’s debut on the Rush Hour Concerts series in a free after-work performance Tuesday, June 18 at St. James Cathedral; New Music Chicago Presents, featuring Lab alumni in a free noon performance Thursday, June 20 at the Chicago Cultural Center; and other June events in collaboration with Chicago civic and cultural institutions to be announced later this spring.
Eighth Blackbird
Eighth Blackbird, founded when its members were Oberlin Conservatory students in 1996, has continually pushed at the edges of what it means to be a contemporary chamber ensemble, presenting distinct programs in Chicago, nationally, and internationally, reaching audiences totaling tens of thousands. The sextet has commissioned and premiered hundreds of works by established and emerging composers and perpetuated the creation of music with profound impact, such as Steve Reich’s Double Sextet, which went on to win the 2009 Pulitzer Prize. The ensemble’s extensive recording history, primarily with Chicago’s Cedille Records, has produced more than a dozen acclaimed albums and four Grammy Awards for Best Small Ensemble/Chamber Music Performance, most recently in 2016 for Filament. Eighth Blackbird won the 1998 Concert Artists Guild Competition, received Chamber Music America’s inaugural Visionary Award, and was named Musical America’s 2017 Ensemble of the Year. Eighth Blackbird’s mission—moving music forward through innovative performance, advocating for new music by living composers, and creating a legacy of guiding an emerging generation of musicians—extends beyond recording and touring to curation and education.
Eighth Blackbird’s musicians are Nathalie Joachim, flutes; Michael J. Maccaferri, clarinets; Yvonne Lam, violin and viola; Nick Photinos, cello; Matthew Duvall, percussion; and Lisa Kaplan, piano.
For information, visit
All photos of Eighth Blackbird by Saverio Truglia.

Red Clay Dance: Art of Resilience 2.0 May 16–18, DuSable Museum Roundhouse


which creates and performs a 
diverse repertoire of Afro-
contemporary dance, continues 
its 10th anniversary season with 
the world premiere of Art of 
Resilience 2.0 by Founder and 
Artistic Director Vershawn 
Sanders-Ward. Performances 
are May 16–18, 2019 at 7:30 
p.m., co-presented by the 
DuSable Museum of African 
American History at DuSable 
Museum Roundhouse, 740 W. 
56th Place, Chicago. Following 
the Saturday, May 18 
performance, RCDC hosts its 
annual Paint the Town Red 
fundraiser party.
Art of Resilience 2.0 is a site-
specific, mixed-media 
performance installation 
that re-imagines RCDC’s 
2017 repertory work Art 
of Resilience. A fully 
immersive activation of the 
DuSable Museum's 
Roundhouse space, Art 
of Resilience 2.0 highlights 
the architecture of the 
historic building constructed 
in the 19th century by 
visionary architect Daniel 
H. Burnham. Using 
movement, song, text, 
vibrant projections, and 
multiple performance 
stages, RCDC’s “Urban 
 Griots” take the audience 
on a journey through 
Chicago’s South Side. 
The work reconstructs 
the stories of Chicago’s 
“Black Belt,” exploring 
 themes such as redlining, 
housing covenants, the 
Stroll, and the 
Black Arts Movement 
while amplifying the 
embodied resilience that 
exists today inside 
these historically 
disenfranchised but 
culturally rich 
communities. Through 
an embodied exploration 
of these concepts, the 
 “Urban Griots” display a 
futuristic expression of 
black life on the South Side.
The National Endowment 
for the Arts has 
recommended a $10,000 
grant to RCDC to 
support the creation and 
presentation of Art of 
Resilience 2.0.

Concluding the 10th 
anniversary season is 
RCDC’s “Dance4Peace 
Youth Concert & 
 Community Hug Awards” 
June 1 at 5 p.m. at Benito 
Juarez Community Academy, 
1450 W. Cermak Rd.
Red Clay Dance Company 
performs the world 
premiere of Art of 
Resilience 2.0 
Thursday–Saturday, May 
16–18 at 7:30 p.m. 
the DuSable Museum 
Roundhouse, 740 W. 56th 
Pl., Chicago.

Performance tickets are 
$30, $24 for 
seniors and students; 
admission to the May 
18 performance and 
post-show Paint the 
Town Red fundraiser is 

Tickets, which go on 
sale March 1, are 
available at 

All programming is 
subject to change.
For more information 
about RCDC and the 
10th anniversary 
season, visit 
Red Clay Dance Company
Red Clay Dance Company lives 
to awaken “glocal” change 
through creating, performing, 
and teaching dances of the 
African Diaspora—change 
that transforms cultural 
and socioeconomic 
imbalances in our local and 
global community. 
Founder Vershawn Sanders-
Ward conceived the idea of 
RCDC while on her first trip 
to Senegal, West Africa, 
when she became 
fascinated by the 
interconnectedness of 
dance and everyday life. 
The name Red Clay comes 
from her childhood memories 
of playing in red earth during 
her summers in Mobile, 
RCDC’s 10th anniversary 
season is supported 
by the Chicago Community 
Trust, the Field Foundation, 
the MacArthur Fund for Arts 
and Culture at the 
Richard H Driehaus 
Foundation, the 
Gaylord and Dorothy 
Donnelley Foundation, 
the Springboard Foundation, 
the Polk Bros. Foundation, 
the Illinois Arts Council 
Agency, and the Chicago 
Department of Cultural 
Affairs and Special 
Events. Corporate 
Sponsors include PNC Bank, 
The Silver Room, EAmbrose 
Photography, and A Social 

The 10th Anniversary 
Season Host Committee 
includes Ebony Ambrose, 
Jessica Bell, Amy Clark*, 
Leslie Guy, Catrina 
Franklin*, Tam Herbert*, 
Jada Russell, Brea 
Sanders, Marilyn A. 
Sanders, and Ira Staples 
(* denotes RCDC board 
Photos of Art of Resilience
by Raymond Jerome.

IMI Artists: Titus Underwood & Peter Henderson performing FredO's Oboe Sketches

Peter Henderson (L) 
and Titus Underwood (R)

IMI Artists writes:

Dear friends! 

For a limited time only, IMI Artists is happy to share video clips from the Feb 10 concert with Titus Underwood and pianist Peter Henderson performing Sketch 5 ("Storm at High Noon") and Sketch 4 ("Tethering Fogs") from Fred Onovwerosuoke's "Six Sketches for Oboes and Piano."

Watch the videos at:

Titus Underwood is principal oboist with the Nashville Symphony Orchestra, and Peter Henderson is pianist with the Saint Louis Symphony Orchestra.

Saturday, February 16, 2019 Free Concert Celebrates Mississippi Composer [William Grant Still]

William Grant Still (1895-1978)

Dr. Artina McCain

University of Mississippi News

February 15, 2019

By Lynn Wilkins

OXFORD, Miss. – William Grant Still is known around the world for his significant contributions not only to African-American music, but to the American classical music cannon.

“The American South is blessed with rich African-American musical traditions, and though we immediately think of jazz and blues, we can also think of classical music,” said George Worlasi Kwasi Dor, professor of ethnomusicology at the University of Mississippi.

A concert celebrating Still, a native Mississippian, is set for 7:30 p.m. Tuesday (Feb. 19) in Nutt Auditorium. Free and open to the public, the concert is part of the university’s celebration of Black History Month.

The concert program, which focuses on Still’s instrumental music, features guest pianist Artina McCain, a performer and professor at the University of Memphis. The UM Symphonic Band, Fraternity String Quartet, UM Steel Orchestra, Ole Miss African Drum and Dance Ensemble, and faculty and student soloists also will perform.

Adrienne Park, UM instructor in music, will perform on piano as both a soloist and accompanist.

“In addition to presenting ‘Summerland’ as a solo piece, I’m looking forward to performing ‘Romance’ for saxophone and piano with Christopher Scott, and three arrangements of songs for trumpet and piano with Terrell McGowan entitled ‘Bayou Home,’ ‘If You Should Go’ and ‘Song for the Lonely,'” Park said. “It has been an invigorating experience working with these two dedicated individuals in preparation for this important event in our department.”

Although he drew from global influences, Still’s work is deeply situated in the American South, in its ecology and in the experience and culture of African-Americans.

John Malveaux: LA Phil concert Feb. 17: Premiere of Adolphus Hailstork's "Still Holding On"

MICHAEL ABELS - MusicUNTOLD Composer of the year Recognition February 18, 2018 City of Long Beach Michelle Obama Library
Commissioned by MusicUNTOLD

Adolphus Hailstork

John Malveaux of 

The LA Phil matinee concert of Feb 17, 2019 includes world premiere of Adolphus Hailstork's STILL HOLDING ON. See Through special arrangement via Leni Boorstin, Senior Adviser, External Engagement for the LA Philharmonic, MusicUNTOLD will present a reception for Dr. Hailstork immediately following the concert in the Disney Hall Green Room (backstage). The reception will include a brief conversation between composer Michael Abels (MusicUNTOLD 2017 COMPOSER OF THE YEAR for the soundtrack of the OSCAR winning movie GET OUT) and Dr. Hailstork about the premiered STILL HOLDING ON composition. See Michael Abels (1), Adolphus Hailstork (2). André Raphel To Conduct The Detroit S. O. In...Classical Roots Concert

André Raphel

Feb. 15, 2019

André Raphel To Conduct The Detroit Symphony Orchestra In 41st Annual Classical Roots Concert

André Raphel conducts the Detroit Symphony Orchestra on March 8 and 9, 2019 in its annual Classical Roots Concert taking place in Orchestra Hall. The Saturday, March 9 performance will be a gala concert and a live webcast. This year's tribute honors George Walker, the esteemed composer, pianist and educator who was the first African American to win a Pulitzer Prize for Music in 1996 for Lilacs, and who passed away this past August at age 96. Composer Robert A. Harris will be a special Classical Roots Honoree. It will be the 41st year that the DSO has presented Classical Roots, honoring the achievements of African American composers.

Lift Every Voice and Sing, designated by the NAACP as the Black National Anthem opens the Classical Roots Celebration. The piece, composed in 1900, is by the pianist, songwriter, producer, soldier, singer and actor J. Rosamond Johnson (1873-1954). Following will be two songs performed by the Brazeal Dennard Chorale -- O Praise the Lord by Adolphus Hailstork and Wanting Memories by Esaye Barnwell. Alice McAllister Tillman is the artistic director and leads these songs. Gloria by Robert A. Harris (b.1938) closes the first half. This work will be performed by lyric soprano Jacqueline Echols joined by the combined voices of the Brazeal Dennard Chorale and Wayne State Centennial Choir.

The second half features George Walker's Lyric for Strings concluding with the Symphony No. 1 (Afro American) by William Grant Still (1895-1978). The Symphony No. 1 (Afro American) holds the distinction of being the first symphony by an African American composer to be performed by a leading orchestra. Its premiere took place on October 28, 1931 by the Rochester Philharmonic and Howard Hanson, followed by a performance with the New York Philharmonic at Carnegie Hall and more than 30 orchestras, all in the 1930s. William Grant Still was also the first African American to conduct a major American orchestra, and the first to have an opera performed by a major U.S. opera company.

These concerts mark a return to the Detroit Symphony Orchestra for André Raphel, who first appeared with the DSO in 2012. André Raphel states, "Collaborating with the Detroit Symphony Orchestra for its annual Classical Roots concerts is a joy. Given the deep commitment by the DSO to celebrate the contributions of African American composers, it will be special to conduct this program focusing on less frequently performed works. From composers such as William Grant Still to George Walker the works span various time periods, outlining a distinctly American musical fabric. Thus providing an important link to history through very inspiring music."

H. Leslie Adams: "The Heart of a Woman" by Mirror Visions Ensemble 5 PM Mar. 31, NYC

H. Leslie Adams

H. Leslie Adams writes:

The Music of H. Leslie Adams

Newly commissioned work: "The Heart of a Woman" (poem by Georgia Douglas Johnson) from
    Nightsongs.[for tenor, baritone and piano].  Premiered by the Mirror Visions Ensemble
For further information visit for tickets
  at the Sheen Center's Loreto Theater   18 Bleecker Street   New York, New York Sunday, March 31, 2019 at 5:00 pm

Friday, February 15, 2019

New York Times: A Pianist Swings Hard in Both Classical and Jazz

The pianist Aaron Diehl will be featured in the Los Angeles Philharmonic’s mini-festival this weekend celebrating the Harlem Renaissance.
(Credit Michelle V. Agins/The New York Times)

The New York Times

By Seth Colter Walls
Feb. 15, 2019

At the Juilliard School, the pianist Aaron Diehl studied both classical and jazz traditions. And in the years since, he’s chosen to follow each of those paths — and sometimes both, simultaneously.

Mr. Diehl has played with Cécile McLorin Salvant and Wynton Marsalis. His own recordings as a bandleader have revealed him to be not only a stylish improviser, but also a composer worth watching.

In recent years, he has revived the practice of interpreting Gershwin’s concert music through an improvisatory filter. His imaginative yet idiomatic turn in the Concerto in F with the New York Philharmonic at their opening-night gala in 2016 contained the hardest-swinging note I’ve ever heard inside David Geffen Hall. (It was an interpolated low D that Mr. Diehl tossed off with casually elegant force toward the end of the first movement.)

This weekend, Mr. Diehl plays “Rhapsody in Blue” (on Saturday) and the less familiar “Second Rhapsody” (on Sunday) with the Los Angeles Philharmonic as part of the brief but potent series “William Grant Still and the Harlem Renaissance. 

“The challenge is creating this balance between the improvisation and the written score,” Mr. Diehl said of his approach to “Rhapsody in Blue.”

Gershwin, in a way, is the exception this weekend: The rest of the Philharmonic’s programming puts the spotlight on black composers. William Grant Still’s symphonies serve as anchors of the programs, the First on Saturday and the Fourth on Sunday.

Symphonic arrangements of works by Duke Ellington also appear all weekend, and a new piece — Adolphus Hailstork’s “Still Holding On” — will have its premiere on Sunday. (It’s one of the 50-plus commissions the orchestra has made as part of its centennial season.)

An earlier orchestral miniature by Mr. Hailstork, “Celebration,” was captured in the 1970s for Columbia Records’s Black Composers Series, a set which was recently remastered and reissued. That recording was the conductor Thomas Wilkins’s introduction to Mr. Hailstork’s music.
  • Cummins Inc. & National Society of Black Engineers Launch $1.5-Million STEM Program

    Cummins Inc. and the National Society of Black Engineers
    Launch $1.5-Million STEM Diversity Program

    The Cummins-NSBE Integrated Pipeline Program Will Aid
    Engineering Students and Academic Institutions

    Cummins Inc. and the National Society of Black Engineers (NSBE) have announced the start of their formal partnership in the Cummins-NSBE Integrated Pipeline Program (IPP). The Cummins-NSBE IPP, funded by a $1.48-million, five-year grant from Cummins, includes scholarship grants and academic and professional development support for select NSBE collegiate members beginning in their sophomore year, as well as resources to increase the success of the students’ universities in retaining and graduating engineering majors from groups underrepresented in the field. The program’s overarching goal is to increase the pool of diverse engineering talent entering the U.S. industrial workforce.

    The IPP is part of Cummins’ US Diversity Initiative and aligns with NSBE’s push toward the Society’s main strategic goal, which is to lead the U.S. to increase its number of black engineering bachelor’s degree recipients to 10,000 annually by 2025.

    NSBE National Chair Niasia T. Williams is a graduate student in STEM education at the University of Iowa and a test engineer at Pratt & Whitney, a United Technologies Company.

    “Seeing the successful launch of the Cummins-NSBE IPP is a joyful moment for me and for all of the college students who make up the leadership of the National Society of Black Engineers,” Williams said. “As peers of the 50 undergraduates who will benefit directly from the program, we know the true value of the guidance and financial support it will give. On behalf of NSBE’s National Executive Board and the entire NSBE family, I extend my sincere thanks to our longtime partner Cummins for its commitment to our mission.”

    “Cummins is at the forefront of significant changes in our industry including energy diversity, connectivity, and leveraging data and analytics. Our product portfolio in the future will broaden how we think about delivering power solutions to our customers,” said Jennifer Rumsey, vice president and chief technical officer at Cummins Inc. “We are committed to recruiting talented engineering students with varied experiences and capabilities who can grow their careers at Cummins in an innovative environment where each employee can thrive and contribute to their greatest potential.”

    A total of 10 students will be selected for participation in the program in its first year: five from Howard University and five from Purdue University. Scholarship recipients accepted into the program will each be awarded a total of $15,000 during their junior and senior years. Each scholar will be required to apply for one summer internship assignment with Cummins, and select students may be offered return internships with the company, based on their work performance. Each Cummins-NSBE scholar will also be assigned a Cummins mentor who will support the scholar through his or her tenure in the program and over the course of the internship assignment. The program is open to majors in chemical engineering, computer engineering, computer science, electrical engineering, industrial/systems engineering, mechanical engineering and software engineering.

    The Cummins-NSBE IPP will also provide grants to Howard University, Purdue University and a third academic institution to be included in the program in the future. The “College Capacity-building Grants” will support the development of blended programs that engage institutional and student leaders — including NSBE chapter leaders — to improve student retention and success.

    “This program shows that diversity and inclusion are alive and well among our nation’s employers who intend to remain leaders of their fields,” said NSBE Executive Director Karl W. Reid, Ed.D. “The new strategic partnership model that NSBE’s Corporate Relations and Programs teams have employed over the past several years is centered on collaboration with forward-thinking companies such as Cummins, and that model is bearing fruit. I look forward to working with the leadership of Cummins as NSBE continues “Unlocking Potential, Cultivating Confidence and Changing Lives!” 

    Interested students should apply for the Cummins-NSBE IPP through NSBE’s website,, by Feb. 19.

    With more than 500 chapters and more than 20,000 active members in the U.S. and abroad, the National Society of Black Engineers (NSBE) is one of the largest student-governed organizations based in the United States. NSBE, founded in 1975, supports and promotes the aspirations of collegiate and pre-collegiate students and technical professionals in engineering and technology. NSBE’s mission is “to increase the number of culturally responsible black engineers who excel academically, succeed professionally and positively impact the community.” For more information, visit

    Sign up to follow NSBE on social media.


    Cummins Inc., a global power leader, is a corporation of complementary business units that design, manufacture, distribute and service a broad portfolio of power solutions. The company’s products range from diesel and natural gas engines to hybrid and electric platforms, as well as related technologies, including battery systems, fuel systems, controls, air handling, filtration, emission solutions and electrical power generation systems. Headquartered in Columbus, Indiana (U.S.A.), since its founding in 1919, Cummins employs approximately 62,600 people committed to powering a more prosperous world through three global corporate responsibility priorities critical to healthy communities: education, environment and equality of opportunity. Cummins serves customers in approximately 190 countries and territories through a network of approximately 600 company-owned and independent distributor locations and over 7,600 dealer locations and earned about $2.1 billion on sales of $23.8 billion in 2018. See how Cummins is powering a world that’s Always On by accessing news releases and more information at Follow Cummins on Twitter at and on YouTube at

    The Harlem Chamber Players' 11th Annual Black History Month Celebration Feb. 28, 6:30 PM

    RSVP Today-Thursday, February 28 at 6:30 PM: 11th Annual Black History Month Celebration

    The Schomburg Center presents

    The Harlem Chamber Players'
    11th Annual Black History Month Celebration

    Thursday, February 28, 2019 at 6:30 PM
    Schomburg Center for Research in Black Culture
    515 Malcolm X Boulevard (Lenox Ave. & 135th Street)
    New York, NY 10037

    International Symbol of Access Fully Accessible
    Click here for directions.
    Click here to view and print a flyer.

    This concert will commemorate the 400th anniversary of the importation of the first black slaves to America. The Harlem Chamber Players commissioned the noted composer Adolphus Hailstork to compose the concert aria Nobody Know for this event. The composer and librettist Herbert Martin will be in attendance.

    This concert is free and open to the public. Please RSVP via Eventbrite.

    Registration opens on February 14, 2019.

    Beethoven's Weary Blues
    Adolphus Hailstork Piano Quintet "Detroit" for Piano and Strings (World Premiere)
    Adolphus Hailstork Nobody Know for Baritone and Strings (World Premiere) with text by Herbert Martin
    Antonín Dvořák String Quartet, Op. 96


    Terrance McKnight, Host and Orator
    Adolphus Hailstork, Composer
    Kenneth Overton, Baritone
    Ashley Horne, Violin
    Jessica McJunkins, Violin
    Amadi Azikiwe, Viola
    Wayne Smith, Cello
    David Berry, Piano

    Founded in 1925 as the Negro Literature, History and Prints Division of the 135th Street Branch Library by Arturo Alfonso Schomburg, the Schomburg Center for Research in Black Culture is one of the leading cultural institutions in the world devoted to the preservation of materials focused on African-American, African Diaspora, and African experiences. Recognized for its prominence in digital humanities, scholarly research, and vast collection spanning over 10 million items, the Schomburg Center won the National Medal for Museum and Library Service in 2015. Today, the Schomburg serves as a space that encourages lifelong education and exploration with diverse programs that illuminate the richness of black history and culture, and in 2017 it was named a National Historic Landmark.

    The Harlem Chamber Players is an ethnically diverse collective of professional musicians dedicated to bringing high-caliber, affordable and accessible live classical music to people in the Harlem community and beyond. In addition, The Harlem Chamber Players seek to build an audience for classical music in general through community and educational outreach, as well as through collaborations with Harlem's other arts organizations, schools and cultural institutions. The Harlem Chamber Players not only bring live chamber music to underserved neighborhoods in the Harlem community, but also create opportunities for classically trained minority musicians.

    Composers Now empowers all living composers, celebrates the diversity of their voices and honors the significance of their contributions to the cultural fabric of society.

    HARLEM RENAISSANCE 100: A Community Celebration, 2018 – 2020 is a community wide celebration marking the landmark 100th anniversary of the Harlem Renaissance. This celebratory community collaborative effort, spanning the next two years, is comprised of over 13 Harlem cultural institutions who will be spearheading the celebration and the launching of an extended series of programs, events and cultural activities.         

    Thursday, February 14, 2019

    John Malveaux: Annelle Gregory recital at CSULB February 5, 2019 is on YouTube

    Annelle Kazumi Gregory

    John Malveaux of 

    Annelle Kazumi Gregory recital at CSULB Gerald Daniel Recital Hall Feb 5, 2019. The Bob Cole Conservatory event was produced by MusicUNTOLD with support from Long Beach branch of NAACP.