Audience | Kentucky Performing Arts | February 2022 by Audience502

FEBRUARY 2022

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FEBRUARY 2022

Audience® is the official program guide for:

Gheens Great Expectations The Kentucky Center-Whitney Hall............................................. 5

Kentucky Performing Arts Presents Kentucky Shakespeare Louisville Orchestra PNC Broadway in Louisville

Black Violin: Impossible Tour The Brown Theatre................................................................. 15 Punch Brothers with special guest Haley Heynderickx The Brown Theatre................................................................. 19 Bob Mould Solo Electric: Distortion and Blue Hearts! With special guest H.C. McEntire, Solo

The Kentucky Center-Bomhard Theater................................... 24 Publisher The Audience Group, Inc. G. Douglas Dreisbach

Ashley McBryde - This Town Talks Tour

Founding Publishers Kay & Jeff Tull

BODYTRAFFIC The Kentucky Center-Bomhard Theater................................. 28

Managing Editor Amy Higgs

Jazz at Lincoln Center Orchestra with Wynton Marsalis The Kentucky Center-Whitney Hall......................................... 30

Creative Director Rhonda Mefford

Staff & Support.............................................................. 42

Sales & Marketing G. Douglas Dreisbach Printing V. G. Reed & Sons

With special guest Ashland Craft

The Brown Theatre.................................................................... 27

Theatre Services............................................................ 46

THEATRE INFORMATION The Kentucky Center (Whitney Hall, Bomhard Theater, Clark-Todd Hall, MeX Theater) 501 West Main Street; Brown Theatre, 315 W. Broadway; and Old Forester’s Paristown Hall, 724 Brent Street. Tickets: The Kentucky Performing Arts Box Office, 502.584.7777 or KentuckyPerformingArts.org. Reserve wheelchair seating or hearing devices at time of ticket purchase.

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WELCOME TO KENTUCKY PERFORMING ARTS One of the great things about our local arts community is the way we are able to foster and grow talent. It is such a joy to watch young artists grow from novice to master. This month we are so excited to welcome the Kentucky Music Educators Association Conference back to Louisville. KMEA brings together young artists from all over the Commonwealth to meet, compete, and showcase their artistry. The event kicks off with one of my favorite concerts of the year, the Gheens Great Expectations Concert. Experiencing the Louisville Youth Orchestra and Louisville Orchestra perform in a side-byside concert, as a young up-and-coming artist take center stage, showcases our mission of building lifelong relationships with the arts. This month, we have many performances to celebrate. Brown-Forman Midnite Ramble returns in a big way with Black Violin back at the Brown Theatre, mixing classical violin with hip-hop beats to create their one-of-a-kind “classical boom”. The Jazz at Lincoln Center Orchestra, with the one and only Wynton Marsalis, returns to Whitney Hall, performing jazz the way it was meant to be played. The LA based dance company BODYTRAFFIC makes their Kentucky debut, legendary musician Bob Mould brings his Distortion and Blue Hearts! Tour to The Kentucky Center, and, for the first time in our 38 year history, KPA welcomes a K-POP band to our stages, as ONEUS performs in Old Forester’s Paristown Hall. In the coming weeks, we look forward to more exciting events, including Kentucky Opera’s Orfeo at the Brown Theatre, the Louisville debut of the Broadway smash Come From Away, Grammy Nominated singer-songwriter Allison Russell, and the exhilarating percussive energy of DRUM TAO 2022, just to name a few. I encourage you to check our website, KentuckyPerformingArts.org, to see all of the events coming to The Kentucky Center, the Brown Theatre, and Old Forester’s Paristown Hall. This month, and every month, we celebrate the power of the performing arts to bring together people from all over the city, state, region. Creating unique experiences that help us learn, grow, and build lifelong relationships with the arts. Enjoy the show.

Kim Baker President and CEO, Kentucky Performing Arts

For more information, including Frequently Asked Questions, please visit Kentucky Performing Arts COVID-19 Guidelines.

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Kentucky Performing Arts and KMEA present

GHEENS GREAT EXPECTATIONS Featuring a side-by-side performance by The Louisville Youth Orchestra and The Louisville Orchestra conducted by LYO Music Director Doug Elmore Nicholas Finch, conductor | Anita Graef, soloist Wednesday, February 2, 2022 | 6:30PM | The Kentucky Center-Whitney Hall Anita Greaf, Cellist

SAINT-SAËNS GLINKA

Concerto for Cello and Orchestra in A minor, No. 1, Op. 33 Anita Graef, cello + Louisville Orchestra Overture to Ruslan and Lyudmila Louisville Orchestra + Louisville Youth Orchestra

SMETANA

“Vltava”, (The Moldau) from Má Vlast, (My Fatherland) Louisville Orchestra + Louisville Youth Orchestra

SIBELIUS

Finlandia, Op. 26 Louisville Orchestra + Louisville Youth Orchestra

This concert is made possible with generous support from the Gheens Foundation, with additional support from Kentucky Music Educators Association and 90.5 WUOL Classical Louisville. A U D I E N C E

LOUISVILLE ORCHESTRA Aiming to be “The Most Interesting Orchestra on the Planet,” the Louisville Orchestra, under the leadership of the young and multi-talented Teddy Abrams since 2014, is a tirelessly adventurous ensemble that reflects the artistic energy of its native city. Home to the Kentucky Derby, Louisville Slugger, and the center of Kentucky bourbon culture from its unique perch on the banks of the Ohio River, Louisville embodies both Southern warmth and Northern vitality. Music thrives; and the Louisville Orchestra has embraced American composers and local performers since early in its history, founding First Edition Records and commissioning, performing, and recording newly-composed music since 1948. This unprecedented, long-running commissioning program, inaugurated by visionary city mayor, Charles Farnsley, and funded early on by the Rockefeller Foundation, is documented in the Gramophone Award-winning film Music Makes a City.

“Aiming to be “The Most Interesting Orchestra on the Planet,” the Louisville Orchestra ... is a tirelessly adventurous ensemble that reflects the artistic energy of its native city.” It’s second nature to Teddy Abrams to pick up and expand this legacy. Crackling with charisma, energy, and charm, Teddy brings together people of all ages and experiences like a modern-day Pied Piper. CBS Sunday Morning, a broadcast television institution, called Teddy, “The Louisville Orchestra’s rock star” in a feature story that aired in May 2019. The orchestra’s debut album for Decca Gold, All In — featuring music by Aaron 6

Copland, Cole Porter, Storm Large, and Teddy himself – debuted at No. 1 on Billboard’s Classical Traditional Chart. The Orchestra’s second release, The Order of Nature, featured Louisville native and My Morning Jacket front man, Jim James and was launched nationally with an appearance on The Tonight Show Starring Jimmy Fallon. Serving greater Louisville with live performances, educational concerts, recordings, and broadcasts, Teddy and the talented musicians of the “LO” have rekindled a joyful fire of exploration, collaboration, and creativity in a community that continues to reach fearlessly toward the future.

LOUISVILLE YOUTH ORCHESTRA The Louisville Youth Orchestra was founded in 1958 and is one of the oldest continuously operating youth orchestras in the nation. As a nonprofit organization, the LYO serves a large number of students of a wide variety of ages, skill levels, and backgrounds. LYO ensembles include two full orchestras, two strings-only developing orchestras, and beginner to intermediate chamber ensembles consisting of winds, brass, and percussion. Each string ensemble supports an increasing range of ability level from beginner to preprofessional. Students ages 7-21 may join by audition, which is used to determine placement among ensembles. These seven ensembles serve to enrich the lives of LYO students and their families, as well as the community, with an emphasis on youth audiences. The LYO aims to provide educational and experiential opportunities with the development of musicianship and leadership skills. Among the performances presented throughout the year, the LYO offers several free of charge

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and devotes a free Discovery Concert specifically to middle schools in the region. Performances are frequently held in venues such as the Brown Theatre, Whitney Hall, Youth Performing Arts School, and Iroquois Amphitheater. The LYO is an organization dedicated to removing financial barriers and offers a generous range of scholarships. In doing so, the LYO provides financial assistance to nearly 30% of its participants and ensures support for students from households below federal poverty guidelines. The mission of the Louisville Youth Orchestra to provide a musical experience of the highest quality for all dedicated young musicians and to provide artful and meaningful education programs for young audiences throughout our diverse communities regardless of race, creed, gender, gender identity, sexual orientation, or economic circumstances.

“The mission of the Louisville Youth Orchestra to provide a musical experience of the highest quality for all dedicated young musicians and to provide artful and meaningful education programs for young audiences throughout our diverse communities” The 2021-2022 season marks the 63rd year of the Louisville Youth Orchestra, having begun in the fall of 1958 as an outgrowth of a six-week summer orchestral program sponsored by the Louisville Academy of Music. With Rubin Sher as conductor, William Sloane as assistant, and the Academy’s President, Robert French, as manager, approximately 50 young musicians

began rehearsals at the Academy that September. Today LYO membership is diverse and draws students from approximately 100 schools and a dozen counties throughout Kentucky and southern Indiana. The LYO also offers a program called Presto! Strings which serves elementary students from two Title 1 schools through weekly beginner strings classes. Over the years, the LYO has called many places home: the old Academy on York Street, the Shrine Temple, the Columbia (now Spalding) Auditorium, the old Armory (now Louisville Gardens), the Louisville Convention Center, and Atherton High School. Most recently, ensembles of the LYO rehearse onsite at the Louisville Ballet School or the Youth Performing Arts School. We are proud to partner with these schools. To learn more about the LYO’s special history of premieres and collaborations, we invite you to visit our website at lyo.org/lyo-history.

DOUG ELMORE, CONDUCTOR Doug Elmore brings to the podium over thirty-five years of outstanding musical leadership in the Midwest. He has conducted Youth Orchestra and school orchestra performances across North America and Europe, including performances in New York’s Lincoln Center and Carnegie Hall. As a conductor, Mr. Elmore’s performances have been described as “Vibrant, stunning, and brilliant,” “outstanding and amazing,” and “fiery, clean, and still elegant.” Mr. Elmore is in his 36th year as Orchestra Director of the Floyd Central High School Orchestra and the Highland Hills Middle School Orchestras, instructing five orchestras and over 350 students daily. In addition to his duties with the Floyd County schools, Mr. Elmore recently

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served as Music Director of the Floyd County Youth Symphony (IN) for 24 years. He has been with the LYO for the past 9 years, 3 with the Repertory Orchestra. He has led his school orchestras to more than 100 Superior (Gold) ratings over the past 36 years. During this same time, the FCHS Orchestra has performed at the last thirty ISSMA State Finals Contests (an Indiana State record), earning State Champion honors in 1995 and 2017, and Runner-up honors in 1996, 1998, and 2016. Elmore has conducted orchestras at 10 Indiana Music Educators Association Conventions over the past 30 years.

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An active clinician and guest conductor, Mr. Elmore has served on the staff at the Great Lakes Music Camp, the Kentuckiana Music Festival at University of Louisville, and the “Music for All” camp at Ball State University. He has conducted All-County and All-Region Orchestras and clinics throughout Indiana, Kentucky, and Salem, OR. In 2017, he conducted the Commonwealth Strings All-State Orchestra for Kentucky, and the Jefferson County (KY) All-County Middle School Orchestra. He is currently on the faculty of the internationally known Aebersold Jazz Workshops. He has served on the faculty of both Bellarmine University and the University of Louisville. He has recently been published (“Making Tone a Priority”) in the IMEA journal. In 2019, he was a quarterfinalist for the Grammy Awards “Music Educator of the Year”. A graduate of DePauw University (IN), Mr. Elmore completed his graduate work at the University of Louisville in 2001. As a performer on the double bass, Mr. Elmore has worked with the Louisville Orchestra, Actors Theatre of Louisville, Derby Dinner Playhouse, the Jerry Tolson Quartet, the Ron Jones Quartet, the Mike Tracy Trio, the Platters, and the Sarah A U D I E N C E

Stivers Quartet. Mr. Elmore has been featured on jazz recordings by University of Louisville faculty members Jerry Tolson and Mike Tracy. In 2020, he was selected as Indiana’s “Music Educator of the Year” by the Indiana State School Music Association. In 2011, he was selected as Floyd Central High School’s “Teacher of the Year.” He was recognized by the ASTA as Indiana’s High School Orchestra “Teacher of the Year.” He has been awarded an Eli Lilly Endowment “Teacher Creativity Fellowship.” He has been recognized with a WHAS TV ExCel Award for “Excellence in the Classroom and Educational Leadership.” Mr. Elmore currently resides in New Albany, IN with his wife of thirty-two years, April.

NICHOLAS FINCH, CONDUCTOR

Since performing as a concerto soloist with the Boston Symphony Orchestra at age 18, cellist Nicholas Finch has established himself as an artist of great depth and diversity, both within and beyond the classical genre. This season, Finch will lead the inaugural year of the Derby City Chamber Music Festival as its Artistic Director, featuring some of the best chamber musicians from Louisville and around the country, featuring members of the Escher String Quartet, pianist Joyce Yang, and many more. In recent seasons, Finch conducted members of the Louisville Orchestra and others in works by Aaron Copland and Jack McFadden-Talbot. He also premiered three new cello concerti written for him by composers Lev “Ljova”

Zhurbin, Alyssa Weinberg, and Dorian Wallace, and will record them during the 2022/2023 season for his debut recording. He also appeared as cello soloist in Richard Strauss’s Don Quixote with the Louisville Orchestra. Finch was appointed Principal Cellist of the Louisville Orchestra during the 2013-2014 season by music director Teddy Abrams. He has appeared with the Boston-based chamber orchestra ‘A Far Cry’ on numerous concerts and recordings, one recording having been nominated for a Grammy Award. He has additionally appeared numerous times with the Jupiter Chamber Players in New York City. Finch has collaborated with some of the most prominent artists of today, including cellist Yo-Yo Ma and his Silk Road Ensemble, pianist Joyce Yang, members of the Dover and Escher String Quartets, and many more. A native of Boston, Finch began his cello studies at the age of 12. He attended Harvard, Juilliard, the University of Michigan, and the Mannes College of Music. He has studied conducting with Markand Thakar, Kenneth Kiesler, and with Michael Jinbo and Ludovic Morlot at the Pierre Monteux School. Finch currently splits his residence between Louisville and New York City.

ANITA GREAF, CELLIST

Described as “a world class musician” (Galena Gazette) who plays with “high energy and polish” (WQXR), cellist Anita Graef has earned recognition for her music making as a soloist, chamber musician, and orchestral performer. Notable appearances include features in Strings Magazine, as well as Carnegie Hall’s Weill Recital Hall, the Dame Myra Hess Memorial Concert series, and

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“Concerts from the Library of Congress.” She has also performed in recital as a guest of various radio programs, including “Young Artists Showcase” on WQXR, WFMT, WGTE, WUOL, WOSU, WVPB, NPR and others. She serves as the Artistic Director and cellist of the Juliani Ensemble, an innovative, multifaceted chamber ensemble, with whom she has performed extensively both nationally and internationally. Highlights of 2021/2022 include concerto debuts, notably with the Louisville Orchestra among others, recital performances at Columbia University, the New Lens Concert Series, “Live from WFMT,” and a residency at the University of Missouri. In 2021, she was announced as the recipient of the American Prize in Instrumental Performance. As a writer, her work has been published in Strings Magazine, where she serves as a frequent contributor. She has performed at various music festivals, including as Artist-in-Residence at piano Sonoma, as a Fellow with the Chautauqua Symphony Orchestra, as principal cellist at Brevard Music Festival, as assistant principal cellist of Miami Music Festival, as well as the Catskills High Peaks Music Festival and Credo Chamber Music Festival at Oberlin Conservatory. As an orchestral musician, frequent appearances include the Cincinnati Symphony Orchestra, originally as a recipient of the CSO-CCM Fellowship, as assistant principal of the Missouri Symphony, as well as performances with the Indianapolis Symphony Orchestra, Louisville Orchestra, and others. As a passionate educator and instructor, Ms. Graef has performed and taught master classes at institutions such as Washington and Lee University, the University of Wisconsin-Oshkosh, the University of Missouri, Columbia 10

University, the University of Chicago and others. She has had occasion to work with and perform for musicians such as Stephen Geber, Johannes Moser, Felix Wang, Roberto Diaz, Joel Smirnoff, Eric Kim, Charles Pickler, Yehuda Hanani, Martin Katz, Paul Watkins of the Emerson Quartet, Anne Martindale Williams, the Shanghai String Quartet, the Calidore Quartet, and the Chiara Quartet. Former teachers include Marc Johnson of the Vermeer Quartet, Hans Jorgen Jensen, and several members of the Chicago Symphony Orchestra. She has performed in orchestras under the baton of maestros such as Leonard Slatkin, Miguel Harth-Bedoya, James Gaffigan, Peter Oundjian, David Efron, JoAnn Falletta, Rossen Milanov, Louis Langree, James Conlon and Keith Lockhart. Born into a family of professional musicians, Anita grew up surrounded by music. She began piano studies at age two, while beginning to study cello at age four, later making her concerto debut at the age of twelve. She went on to obtain a Bachelor’s Degree from the University of Michigan’s School of Music, Theatre, and Dance, where she studied with professor Anthony Elliott. Following this, she completed studies for a Master’s Degree at the University of Cincinnati College-Conservatory of Music, under the tutelage of Ilya Finkelshteyn. When not making music, Anita enjoys reading, cooking, crocheting, weight lifting, hiking, spending time with friends and family, volunteer work and exploring new cities. Anita performs on a modern Italian cello by Ferdinando Garimberti, dated 1923. For more information, visit anitagraef.com.

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MUSICIANS of the LOUISVILLE ORCHESTRA FIRST VIOLIN

CELLO

BASSOON

Gabriel Lefkowitz, Concertmaster Julia Noone, Associate Concertmaster Katheryn S. Ohkubo Heather Thomas Stephen Taylor Scott Staidle Nancy Staidle Patricia Fong-Edwards Chelsea Sharpe, Interim

Nicholas Finch, Principal Lillian Pettitt, Assistant Principal Christina Hinton Allison Olsen Lindy Tsai Julia Preston

Matthew Karr, Principal Francisco Joubert Bernard

SECOND VIOLIN Julia Cash, Interim Principal Kimberly Tichenor, Assistant Principal Maria Semes* Christopher Robinson, Interim Andrea Daigle Cynthia Burton Charles Brestel James McFadden-Talbot Judy Pease Wilson Blaise Poth

VIOLA Jack Griffin, Principal Evan Vicic, Asst. Principal Clara Markham Jennifer Shackleton Jonathan Mueller Meghan Casper

BASS Brian Thacker, Interim Principal Open Robert Docs Karl Olsen, Acting Assistant Principal Michael Chmilewski

FLUTE Kathleen Karr, Principal Jake Chabot Donald Gottlieb

PICCOLO Donald Gottlieb

OBOE Alexandr Vvedenskiy, Principal Trevor Johnson, Asst Principal Jennifer Potochnic ‡

ENGLISH HORN Trevor Johnson

CLARINET Andrea Levine, Principal Robert Walker Ernest Gross

HORN Jon Gustely, Principal Diana Wade Morgen Brooke Ten Napel, Interim Assistant Principal/Third Horn Stephen Causey

TRUMPET Alexander Schwarz, Principal Stacy Simpson ‡ James Recktenwald

TROMBONE Donna Parkes, Principal* Brett Shuster, Interim Principal Nathan Siler

BASS TROMBONE J. Bryan Heath

TUBA Andrew Doub, Principal

TIMPANI James Rago, Principal

PERCUSSION John Pedroja, Principal

HARP Open, Principal * On leave ‡ Denotes Auxiliary Musician

BASS CLARINET Ernest Gross

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LOUISVILLE ORCHESTRA ADMINISTRATION EXECUTIVE Graham Parker Interim Executive Director Nathaniel Koch Executive Administrator Megan Giangarra Office Administrator and Patron Services Associate ARTISTIC OPERATIONS Matthew Feldman Director of Artistic Operations Jake Cunningham Operations Manager Adrienne Hinkebein Orchestra Personnel Manager Bill Polk Stage Manager Chris Skyles Librarian

Adam Thomas Artistic Coordinator and Assistant to the Music Director DEVELOPMENT Bert Griffin Chief Development Officer Erynn McInnis Grant Writer Edward W. Schadt Director of Leadership Giving Jonathan Wysong Development Manager FINANCE Tonya McSorley Chief Financial Officer Open Controller Cheri Reinbold Staff Accountant Angela Pike Receptionist

EDUCATION AND COMMUNITY Sarah Lempke O’Hare Director of Education and Community Engagement Jennifer Baughman Education and Community Engagement Coordinator MARKETING AND COMMUNICATIONS Michelle Winters Director of Marketing Arricka Dunsford Marketing Specialist Stephen Koller Graphic Designer PATRON SERVICES Carla Givan Motes Director of Patron Services Shane Wood Patron Systems Manager

LOUISVILLE ORCHESTRA BOARD OF DIRECTORS Mr. Lee Kirkwood Chair Mr. Andrew Fleischman Chair-Elect Mr. James S. Welch, Jr. Immediate Past Chair Mr. Timothy L. Peace Secretary Mrs. Ritu Furlan Treasurer Mrs. Carole Birkhead* Mrs. Christina Brown Mrs. Mariah Gratz Mrs. Paula Harshaw 12

Mrs. Carol Hebel* Mrs. Michelle Hawk Heit Ms. Wendy Hyland Mr. Brian Kane Mrs. Beth Keyes Mr. Don Kohler, Jr. Mrs. Karen Lawrence Mrs. Carol Barr Matton Mr. Joseph Miller Mr. Guy Montgomery Mrs. Mona Newell Mr. Khoa Nguyen Dr. OJ Oleka Dr. Teresa Reed Mr. Jeff Roberts A U D I E N C E

Mr. Bruce Roth Mrs. Denise Schiller Mrs. Winona Shiprek* Mr. Gary Sloboda Ms. Min Son Mr. Dennis Stilger, Jr Mr. William Summers V Mrs. Susan Von Hoven Mrs. Mary Ellen Wiederwohl Mr. Robert H. Wimsatt Mrs. Lindsay Vallandingham *denotes Life Member

MUSICIANS of the LOUISVILLE YOUTH SYMPHONY ORCHESTRA VIOLIN I Kaylynn Li Principal Joseph Levinson Assistant Principal ROTATING: Jonathan Melton* Meg Martin* Annaliza Cull VIOLIN II ROTATING: Justyn Douthit* Michell Lynch* Donovon McDonald* Samuel Rios* Natalie Sato* Abby Wallace* *may move between Violin I and Violin II throughout the season

VIOLA Hannah Armar, Principal Aidan Knox Principal ROTATING: Zach Hutchinson Eva Meredith Matthew Roach Nick Schumacher Raegan West CELLO Sophia Altstadt Principal ROTATING: Daphne Altstadt Lillian Chung Faith Estes Ashley Park Alexander Wallis

BASS Catherine Willis Principal ROTATING: Chelsie Glover Drew Goforth Aaron McFall FLUTE ROTATING: Chipper Fellows Abby Hardin Sahil Egbert OBOE Rose Woodcock Principal Gabrielle Beacham CLARINET Natalie DeSimone Principal ROTATING: Colin Bouchard James Russo IV BASSOON Hannah Centers Brayden Gossett

TROMBONE Ryan Barrett Principal 1st Keaton Fuller Principal 2nd Christopher Watson Bass Trombone TUBA Eli Kidd Co-Principal Christian Jeon Co-Principal Jonathan Devers PERCUSSION Trent Bowman Co-Principal Maya Otterback Co-Principal Julius Adams Ryan Chung Kristian McKenzie Lillan Rihn Will Sarpas

TENOR SAXOPHONE Will Mettling HORN Nolan Turner Co-Principal TRUMPET Madison Leger Principal ROTATING: Hampton Adams Quinlan Toole

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LOUISVILLE YOUTH ORCHESTRA STAFF Alissa Brody Executive Director Doug Elmore Music Director, Symphony Orchestra Ian Elmore Repertory Orchestra Conductor Chris Lerner Concert Orchestra Conductor Robert Dixon Serenade Orchestra Conductor and Presto! Strings Instructor

Mark Tate Percussion Ensemble Coach John Little Horizons Brass Ensemble Coach Brandon Bell Horizons Winds Ensemble Coach Carrie RavenStem Business Manager April Dannelly-Schenck Presto! Strings Instructor and Co-Music Librarian/ Site Manager

Angela Dixon Co-Music Librarian/Site Manager University of Louisville Graduate Conducting Students: Misaki Hall Joshua Lowery

LOUISVILLE YOUTH ORCHESTRA BOARD OF DIRECTORS Evelyn Loehrlein President Ben Keeton Vice-President Megan Renwick Secretary

Jeff McCaffrey Treasurer Kyle Vaughn Immediate Past President Jessica Caballero Norman Epley Jimica Howard

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Mary Rose Hulsey Ed Klein Ben McClave Nancy Morris Paul Shoemaker Jon G. Swanson Cindy Watson

Brown-Forman Midnight Ramble

BLACK VIOLIN: IMPOSSIBLE TOUR Wednesday, February 16, 2022 | 7:30PM | Brown Theatre

“We had a wall that we wrote stuff on,” says Wil Baptiste, describing the process that led to Black Violin’s Grammynominated album, Take the Stairs. “We had all the ideas about what story we were going to convey. And it kept coming back to the idea of hope—songs that spoke about going against the grain, carrying through struggle, being optimistic. We wanted to say, ‘it’s tough out there, but don’t give up.’”

Much like the ways their instruments interact on stage, Wil’s creative collaborator Kev Marcus echoes this theme, and then expands it. “Hope is the thread that keeps this thing together, it’s the heartbeat of this album,” he says. “But then a lot of tentacles went different ways — the song ‘Impossible is Possible’ is about challenging people. So it went different directions from just being hopeful. We took it a little further.”

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For more than a dozen years, Black Violin has been all about taking things further, exceeding expectations, challenging conventions. The classical-meets-hiphop duo has steadily built a devoted following and a diverse touring base — culminating in such triumphs as two sold-out shows at the Kennedy Center with the National Symphony Orchestra commemorating the 50th anniversary of Dr. Martin Luther King Jr.’s death — while occupying a musical lane that’s entirely its own. “When you do something you love, it’s not difficult,” says Wil. “I’m just going on stage and being who I am. When people want to listen, when you touch them and make them want to keep fighting—to see that spreading out to more people, it’s about way more than just the music.” Indeed, Black Violin’s work extends far beyond the stage, reaching deep into urban communities with numerous free performances for students and handson engagement with youth symphonies and community centers. Through collaborations with local and national education programs such as TurnAround Arts, Wil and Kev connect with more than 100,000 students throughout the year, mostly at low-income and Title 1 schools, and adopted Bethune Elementary, in Florida’s Broward County (near where they grew up) to initiate an ongoing mentorship program. Wil expresses the idea that, no matter how unique Black Violin’s music may be, it is ultimately more than just a creative enterprise. “It’s really a movement,” he says, “an organism that’s its own thing and really feels necessary.”

first day of orchestra class in 1996 at Dillard High School of the Performing Arts. (Baptiste originally wanted to play saxophone in the band, but the orchestra teacher got him assigned to his class by winning a golf bet with the band instructor.) Classically trained by day, they faithfully put on their headphones and listened to the hottest rap records each night. They went to different colleges — Marcus attended Florida International University and Wil B went to Florida State — but then reconvened, moved into an apartment together, and started trying to produce other musicians. They developed an act covering hip-hop songs on their violins, which became popular in local clubs. Two years after sending in a tape to Showtime at the Apollo, they were invited to appear

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That movement began when the members of Black Violin met on the 16

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on the show—which they won, and kept winning. They were approached by the manager of Alicia Keys, who asked them to perform with the singer on the Billboard Awards. Other offers followed—they toured with Mike Shinoda of Linkin Park, opened for the Wu-Tang Clan, composed the music for the groundbreaking Fox series Pitch. Individually and together, Wil and Kev have worked with the likes of Alessia Cara, 2 Chainz, and Lil Wayne. All the while, Black Violin continued touring non-stop (playing as many as 200 shows a year) and released two independent, self-financed albums before putting out the acclaimed Stereotypes in 2016. With Take the Stairs, Black Violin are striving to take their message of unity

and inclusiveness even further, moving Wil’s vocals further forward while continuing to explore the possibilities of merging classical virtuosity and structure with modern beats and tones. “We wanted something different, beautiful songs that could go to radio,” says Wil. “I sing every night, so that’s nothing new, but we felt like we’ve never had that one song that can help elevate us to the next level. This album has records like ‘One Step’ that can appeal to everybody, so we lean a bit more on that, but we still had to keep that quintessential Black Violin sound.” “When you’re a creative musician,” adds Kev, “when you press record, you let the music lead you. The vocals have definitely stepped up each time— Wil becomes more of a vocalist on each album and finds his voice a little more.

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It solidifies us as artists, too, trying to make a bigger stamp.”

Czech Slavonic dance, with an Al Green sample and viola solos.”

The 13 tracks on Take the Stairs reveal the range and diversity of their influences and vocabulary, from “Showoff” (which Wil calls a “classic instrumental”) to the Curtis Mayfield-inspired “Lost in the Garden.” One favorite is “A Way Home”— “That record should be the Olympics theme song!,” says Wil. “I can see us going from country to country, engaging with different cultures. I played it for my wife and she started crying — that’s a special song right there.”

The members of Black Violin both note their own personal evolution and maturity, and to the ways this growth came out on Take the Stairs. “This time, every I is dotted and T is crossed,” says Kev. “There was a rush to the last album, a deadline we had to hit after we signed our record deal. This one we funded and produced ourselves. So, it was a really well-thought out and more deliberate process; we had more time to live with everything and feel comfortable with it.”

The first single released ahead of Take the Stairs was the timely and inspiring “Dreamer,” with a message that was immediately embraced by several commercial campaigns. “This is the day when I go all the way/I make it my own/Here’s to the dreamers,” sings Wil. “That just really hit home,” says Kev. “It got to the heart of what we’re about.”

Wil says that Black Violin isn’t always explicit with its message, but that they don’t have to be—that the creation of an audience that is multi-generational, ethnically and economically diverse, is a powerful statement of its own. “The stereotypes are always there, embedded so deep in our culture,” he says. “Just by nature of our existence—the idea that these black guys who could be football or basketball players are playing the violin—we challenge those ideas. It’s a unique thing that brings people together who aren’t usually in the same room, and in the current climate, it’s good to bring people together.”

Kev notes that “inspiration can come from anywhere — the cable guy played me an Ethiopian tune when he was fixing my modem.” That conversation ultimately led to the new song “A Way Home.” Kev points to the track “Al Green” as an example of the journey that Black Violin songs can take. “I had a Dvorak piece called ‘Slavonic Dances’ and I was into that vibe,” he says. “I played it for Salaam Remi [who has worked with the likes of Nas, Amy Winehouse, and the Fugees, and co-produced and is featured on several Take the Stairs tracks] and he said ‘That has a cool bounce to it — let’s funk out that groove and put an Al Greenstyle bass line on it. We both played violas over that, which I’d never heard. So that one is funk mixed with a 18

It’s all wrapped up in the name of the album. “For sixteen years, we’ve slowly been taking the stairs,” says Kev. “It’s a gradual kind of snowball where now we have control, we can tour in Alaska — we took the hard way for so many years, now we can look back and see what we’ve learned. “You’ve got to work hard to get what you want. But you shouldn’t be looking for the easy way, anyway, because the hard way is where the real lessons are.”

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91.9 WFPK presents

PUNCH BROTHERS WITH SPECIAL GUEST HALEY HEYNDERICKX Thursday, February 17, 2022 | 8:00PM | Brown Theatre

In November of 2020, when the world felt so full of uncertainty, the Grammywinning folk band Punch Brothers did the one thing that they could rely on: they stood in a circle, facing one another, and made music together. A weeklong recording session, after quarantining and little rehearsal outside of a few Zoom calls, had culminated in their new record, Hell on Church Street — a reimagining of bluegrass great Tony Rice’s landmark solo album, Church Street Blues.

Hell on Church Street is a potent work by a band realizing its own powers and returning to the foundations of its music. The record finds the band at its most spontaneous — taking risks, listening deeply to one another, and approaching the music with a kind of immediacy only accessible to musicians of their particular ability who have also forged a deep trust over their decade and a half together. Bassist Paul Kowert considers this album to “harken back to our early days in the

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band when we were playing regularly on The Lower East Side, learning all this new material to expand our sonic arsenal.” This band of virtuosi had spent more than a decade changing the face of acoustic music, stretching the limitations of instruments, and influencing a generation of young musicians — but life has a way of keeping a band from getting in the same room. Mandolinist Chris Thile elaborates that “these sessions were a reminder for me of what’s really important. I felt silly having this band take up so little of my creative year; it reminded me that us five together is critical to my happiness.” Church Street Blues was Tony Rice’s great statement. By his mid-twenties, Rice had already made his name as a member of the legendary bluegrass band JD Crowe and The New South and pushed the boundaries of string music as a founding member of the David Grisman Quartet. An exceptionally gifted singer — and a guitarist who redefined the possibilities of the instrument through his synthesis of bluegrass, bebop-era jazz, American folk music and virtually anything else that caught his ear — he once remarked “as soon as you become a diehard anything, be it jazz or bluegrass or whatever, you’re depriving yourself of a whole world of music.” Tony Rice created a new language for this music that continues to influence generations of musicians, and deeply influenced all of the Punch Brothers in their formative years. Banjo player Noam Pikelny adds, “The records that most inspired me to want to play music all had Tony Rice as the common thread.” Church Street Blues was Rice at his most vulnerable: stripped back to guitar, his voice, and a memorable collection of songs from heavyweights like Gordon Lightfoot 20

and bluegrass founder Bill Monroe. Rice’s versions of these tunes have since become the standard, and Church Street Blues a masterpiece, in both interpretation and delivery. Pikelny cites the importance of “Tony’s direct performance. On the song, ‘Church Street Blues,’ what he’s playing is so complicated, but it doesn’t feel that way, it feels elemental ... like falling off a log.” During Thile’s younger years as a member of Nickel Creek, folk music legend Alison Krauss sat him and his bandmates down, turned on Church Street Blues, and said, “‘This is how you make a record.’ Every time I make a record I think of Church Street Blues.” Tony Rice was a hero to all the Punch Brothers, but perhaps to no one more than guitarist Chris Eldridge. Eldridge’s father, Ben, was a founding member of the influential bluegrass band the Seldom Scene, and Rice was an old family friend. As a college student, Eldridge had worked out a deal where he could study one-on-one with the notoriously reclusive guitarist in exchange for school credit. He certainly learned music from Rice, but through those lessons he also learned much more. Eldridge says, “I would be playing some hot-shot guitar part and he would stop me and remind me, ‘It’s not about you. It’s simply about collaborating with your fellow musicians to make sounds that are pleasant to the ear.’ That sounds simple, but it’s incredibly deep.” The advice colored the generative way, years later, Punch Brothers made music, each listening deeply to one another’s parts while creating a symphony in their collective. The decision to reimagine Rice’s record came from a hastily assembled set at

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the prestigious Rockygrass Festival in Colorado in 2019. “We knew all the songs,” says bassist Paul Kowert. Fiddler Gabe Witcher adds, “We had to figure out something to play for a set of bluegrass, and we figured the audience would know that record. As soon as they caught onto what we were doing we hoped they would be into it, and that proved correct, fortunately.” The Rockygrass set quickly became a thing of legend, with bootlegged recordings being passed around by rabid fans on Reddit and other social media sites. After that performance, the band members continued with their own individual busy schedules. Witcher co-produced Not Our First Goat Rodeo by Thile, Edgar Meyer, Stuart Duncan, and Yo-Yo Ma and composed for the best-selling video game Red Dead Redemption 2; Kowert continued writing music and touring with his critically acclaimed quartet Hawktail; Pikelny toured as a duo with Stuart Duncan; and Eldridge produced albums and performed with fellow guitar phenom Julian Lage. Thile’s life was full as host of public radio’s flagship program Live from Here, where he juggled the role of master-ofceremonies while also contributing to just about every musical performance, be it bluegrass, blues, rock, or hip-hop. When the pandemic began and live performances ceased, Live from Here was abruptly cancelled, to the dismay of its legions of fans, and Thile found himself unmoored. With the band separated by great distance (Pikelny, Eldridge and Kowert live in Nashville, Witcher in Los Angeles and Thile in New York) and their other work slowed down, the members of Punch Brothers started chatting over cocktails on late night Zoom calls.

Needing an outlet from the stress they each were feeling, they reconnected over the promise of making new music. Pikelny says they realized that “talking about this record was becoming our outlet ... in lieu of buying a farm in upstate New York and Critter [Chris Eldridge] being in charge of the cows and Paul being in charge of the goats.” Thile adds, “I think we all started seeking out experiences that we had when the world was simpler. I started listening to records that had made a profound impact on me when I was younger — like Church Street Blues.”

“I think we all started seeking out experiences that we had when the world was simpler. I started listening to records that had made a profound impact on me when I was younger — like Church Street Blues.” The question was posed—if Tony Rice’s album was an interpretation of these classic songs, how then would an interpretation of that sound? Thile thinks of it as “similar to how a jazz musician takes a theme and has a conversation with it in real time. That’s what Tony was doing with those pre-existing songs. And then what we were striving to do with this entire record is have a conversation with that.” Hell on Church Street’s adventurous path ranges from the title track — a song of longing for home penned by the legendary folk songwriter and multi-instrumentalist Norman Blake— converted from a solo guitar performance

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to the full band playing in a gliding 5/4 time signature, to a honky-tonk version of Jimmie Rodgers’ Any Old Time, to a free improvised version of the bluegrass standard “Gold Rush,” to a straightforward playing of the fiddle tune “Cattle in the Cane,” where Pikelny and Eldridge play one of Rice’s most challenging solos note-for-note in unison. The album is courageous in its reinterpretation of its material, a sign Punch Brothers was truly channeling their hero. “Tony cared so much about individuality and really doing things your own way. If you’re going to do something, do it like you,” remembers Eldridge. Pikelny adds, “We’ve closed some doors for ourselves over the years by shying away from covering other people’s material on record beyond one or two songs here and there. At long last

Now a Louisville family tradition for over 75 years.

we have a Punch Brothers covers record — but I can’t imagine making a more personal one, solely through the power of interpretation and delivery.” Hell on Church Street was intended to be its own work of art, but it was also meant to be a gift and homage to Rice. “We wanted to thank him for being one of the biggest influences on us and anyone who interacts with American roots music,” says Thile. Pikelny remembers saying to Thile, “We needed to make this album in our lifetime. But wouldn’t it be a shame if we didn’t make this record in Tony Rice’s lifetime?” On Christmas Day 2020 Tony Rice passed away at his home in Reidsville, North Carolina. The band was devastated by the loss of its hero and the sad realization he would never receive their gift and honor.

EA EV TRE ER —P Y EV WH ERFO ER ER R YO E F MI NE OR NG .

www.stageone.org

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Pikelny, along with the rest of the band, realized that the true gift was given to them. “After we got over the shock of losing our hero and friend, we realized what Tony had left with us was his music, his spirit, and his legacy. And clear marching orders to ‘make it all count.’” Eldridge, when asked what Rice might think of this record, offered: “He liked things that were unique, and he celebrated people who were unique in their work and their art. But he also loved spontaneity, and this is the most spontaneous record Punch Brothers has ever made. In those ways this record is the most true and direct tribute to everything we learned from him.”

a spontaneity that can only come from a lifetime of practice; breathtaking virtuosity employed to channel deep emotion; and a deep respect for those who came before tied to a fearlessness to forge their own path. Thile says, in summary, “We spent a lot of time contemplating what happened when Church Street Blues hit our ears as a band: we held it out, we conversed with it, and now we’re handing it to you.”

Hell on Church Street captures the beautiful contradictions at the Punch Brothers’ core: a performance built on

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91.9 WFPK presents

BOB MOULD SOLO ELECTRIC: DISTORTION AND BLUE HEARTS! WITH SPECIAL GUEST H.C. Mc McENTIRE, SOLO Saturday, February 19, 2022 | 8:00PM | The Kentucky Center-Bomhard Theater

On July 16, 2021, Demon Music Group concluded their year-long Bob Mould retrospective campaign with their fourth vinyl box, Distortion: Live. The 8 LP set includes live recordings from Mould’s solo career and his band Sugar. This box follows October 2020’s 8 LP Distortion: 1989-1995 vinyl set, which took in Mould’s early solo outings as well as his records with the much-beloved Sugar, January 2021’s 9 LP Distortion: 24

1996-2007 box set continuing through the next steps in Mould’s solo career and his outings as LoudBomb and Blowoff, April 2021’s 7 LP Distortion 2008-2019 covering District Line to Sunshine Rock, and the 24 CD Distortion: 1989-2019 box, which covers the entirety of his postHüsker Dü output. Mould’s live shows will span his entire 40+ year career, including songs from the Distortion collection and from his

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landmark band Hüsker Dü, as well as songs from last year’s explosive and critically acclaimed album Blue Hearts — about which Rolling Stone’s 4 out of 5 star review raved, “feels like a lost Hüsker Dü album with Mould howling invective over his buzzsawing guitar.”

“I’ve missed the noise, the sweat, and seeing your smiling faces. I’m fully vaccinated, and I hope you are too, because this fall will be a punk rock party with the band — and the solo shows will be loud and proud as well.” “It’s been a year and a half away from the stage. I’ve missed the noise, the sweat, and seeing your smiling faces. I’m fully vaccinated, and I hope you are too, because this fall will be a punk rock party with the band — and the solo shows will be loud and proud as well. It’s time to make up lost time, reconnect, and celebrate together with live music!” As with the previously released box sets in the Distortion collection, each album has been mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston and is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects. This box set includes 4 live albums: Live At The Cabaret Metro, 1989; the Sugar album The Joke Is Always On Us, Sometimes; LiveDog98 (first time on vinyl), and Live at ATP 2008 (first time on vinyl). In addition, the set includes a 28-page companion booklet featuring liner notes by journalist Keith Cameron; contributions from Bully’s Alicia Bognanno; rare

photographs and memorabilia, and a bonus LP Distortion Plus: Live, which features live rarities including B-Sides and stand-out tracks from the Circle of Friends concert film. Discover more about the box sets including full track listings and FAQs here: demonmusicgroup.co.uk/bob-moulddistortion

H.C. MCENTIRE

“Early rise, start the fire, till the rows, pass the tithes.” So starts H.C. McEntire’s sophomore release, Eno Axis. It’s a set of directions delivered with assurance and authority, reaching the listener without pretension almost as a sermon or spell. McEntire has always had one foot planted in the traditional country gospel roots of her upbringing while boldly wrestling with its complications, creating an Americana sound of her own. But that has never rung as true as it does now on the transcendent psalms of Eno Axis. Unlike McEntire’s solo debut, LIONHEART, which was recorded in sporadic bouts and fits while she was touring, Eno Axis is firmly rooted in place. After two years working all over the world as a backup singer in Angel Olsen’s band, McEntire came home to a hundred-year-old farmhouse tucked away in the woods of Durham, North Carolina, right on the Eno River. Here, McEntire was able to refocus. Like the blue-collar Appalachian kin she descended from, her days were scheduled by the clockwork of the Earth’s rotation: splitting wood, stacking it, weeding and watering the garden, walking the dog past the bridge and back—and every evening on the front porch, watching dusk fall. Eno Axis emerges from this time as the strongest work McEntire has shared yet.

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“To all the winds—hold high the hymnal, gather blessings by the fistful,” McEntire sings in her celebration of the Eno on “River’s Jaw.” McEntire doesn’t write lyrics; she writes poetry. Growing up in the tiny rural community of Green Creek, outside Tryon, North Carolina, she knows how to tell a story. And just as Loretta Lynn sang about watching her mama’s fingers bleed on the washboard in “Coal Miner’s Daughter,” McEntire, too, takes the listener by the hand and pulls them into her own experience. On “One Eye Open” McEntire revisits her childhood Sunday school room and reckons with Christian fundamentalism. On “Footman’s Coat,” she ruminates on time, biological clocks, and the path of possibilities left in her past. Tracked and mixed at the Fidelitorium with a full backing band, many of the songs on Eno Axis feature scratch first takes of McEntire’s lead vocals, initially meant to be thrown out and redone. This rawness creates an immediacy, her self-assured, instinct-driven, and mesmerizing delivery complementing Eno Axis’ lush acoustics and warm tones. After a dreamy atmospheric interlude, “Time, On Fire” builds and retracts with a driving pop drum beat, exploring movement like the ebb and flow of a river, culminating in a soaring guitar solo. And just as a river’s current sometimes takes us somewhere unexpected, into new territory where we never knew we could go, Eno Axis closes with one of the album’s most revelatory experiences— a new, glossier cover of “Houses of the Holy” by Led Zeppelin. Under McEntire’s empowering reconstruction of this rock ’n’ roll classic, the masculine, driving signature guitar vanishes, and instead we’re left with one of the inimitable queer voices of our time bashfully asking, “Can I take you to the movies?” 26

“H.C. McEntire establishes herself as a force to be reckoned with in the greater American musical landscape. These songs transcend country and gospel, folk and rock— they’re poems directed straight to the listener, simple psalms on how the sun falls, how the train passes, how love grows and bends.” With Eno Axis, H.C. McEntire establishes herself as a force to be reckoned with in the greater American musical landscape. These songs transcend country and gospel, folk and rock—they’re poems directed straight to the listener, simple psalms on how the sun falls, how the train passes, how love grows and bends. McEntire inspires us to find the stillness within our own lives—a remarkable clear-ringing declaration for our uncertain times.

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Live Nation and Kentucky Performing Arts present

ASHLEY Mc McBRYDE - THIS TOWN TALKS TOUR WITH SPECIAL GUEST ASHLAND CRAFT Sunday, February 20, 2022 | 7:30PM | Brown Theatre

GRAMMYs for Best Country Song and Best Country Solo Performance for “Girl Goin’ Nowhere.”

Ashley McBryde cut her teeth playing country songs in rural biker bars – and it shows. Her 2018 major label debut Girl Going Nowhere (Warner Music Nashville) charmed the New York Times, NPR, Rolling Stone, Paste, The Washington Post, and more, all en route to landing a GRAMMY nomination for Best Country Album. McBryde closed out 2019 with ACM New Female Artist, CMT Breakout Artist of the Year, a New Artist of the Year win at the 53rd Annual CMA Awards and two nominations for the 2020

Her follow-up, Never Will, released in April 2020,was tagged by Rolling Stone as one of the most anticipated of the year alongside NPR, who also ranked her lead Top 10 RIAA Gold-Certified single “One Night Standards” as one of the best songs of 2019. Produced once again by Jay Joyce, Never Will reveals the witty, confessional, detail-driven songwriting addressing a wide spectrum of blue-collar Southern women’s experience introduced on Girl Going Nowhere is still here, but perhaps even sharper, earning McBryde a 2021 GRAMMY nomination for Best Country Album, along with 2021 ACM nominations for Album of the Year, Female Artist of the Year and Song of the Year for lead single “One Night Standards.” The music itself is stadium-ready rockand-roll with a bluegrass wink or two and country music’s storytelling heart–– and McBryde, no longer new, is the music’s ordained and highly capable standard bearer. For more information, visit AshleyMcBryde.com or follow her at Facebook.com/AshleyMcBryde, Instagram @AshleyMcBryde and Twitter at @AshleyMcBryde.

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Kentucky Performing Arts presents

BODYTRAFFIC Saturday, February 26, 2022 | 8:00PM | The Kentucky Center-Bomhard Theater

With “unfailingly deft and endearing dancers” (Los Angeles Times) BODYTRAFFIC, continues to make waves from coast to coast with its universal appeal to new audience members and dance lovers alike. The company is deeply committed to producing acclaimed works by distinctive choreographic voices, all while surging to the forefront of the contemporary dance world. Bursting 28

with cutting-edge “vivid theatricality”, BODYTRAFFIC takes the stage with compelling works that embody the company’s energy, sophistication, and sheer joy in dancing. “There is no doubt, BODYTRAFFIC puts its all into each performance with its incredible facility, cleverness and outstanding performers.” − LA Dance Chronicle

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ABOUT THE COMPANY BODYTRAFFIC is a world-class contemporary dance company, known internationally for its Los Angeles-grown, contagious vivacity led by artistic director Tina Finkelman Berkett. Founded in 2007, BODYTRAFFIC continues to push boundaries and establish Los Angeles as a city known for dance. The company is deeply committed to producing acclaimed works by istinctive choreographic voices, all while surging to the forefront of the contemporary dance world. After a decade of stellar performances and world tours including Moscow, St. Petersburg, and the Netherlands, the company has solidified its place as a force to be reckoned with on the international dance landscape. Surprising and unforgettable,

BODYTRAFFIC is “one of the most talkedabout companies nationwide,” (Los Angeles Times). Made possible with support from New England Foundation for the Arts, South Arts, National Endowment for the Arts, and The Gheens Foundation.

“There is no doubt, BODYTRAFFIC puts its all into each performance with its incredible facility, cleverness and outstanding performers.” − LA Dance Chronicle

Eats The restaurants below are certified and recommended by Audience as premium places for pre-show dinner, drinks or mingling. Let them know we sent you! Area of Town

Restaurant Name

Reservations

Phone

Address

Notes

Downtown

Repeal Oak-Fired Steakhouse

Yes

(502) 716-7372

101 West Main St.

Upscale steakhouse on historic Whiskey Row

Downtown

Jeff Ruby’s Steakhouse

Yes

(502) 584-0102

325 West Main St. (Galt House Hotel)

Premium steaks & seafood

Downtown

Mayan Cafe

Yes

(502) 566-0651

813 E. Market St.

Farm-to-table Mexican & Pan-Latin cuisine

Downtown

Walker’s Exchange

Yes

(502) 272-1834

140 N. 4th St. (Galt House Hotel)

Casual Southern Contemporary

Crescent Hill

Pat’s Steakhouse

Yes

(502) 893-2062

2437 Brownsboro Rd.

Premium steaks since 1958

Crescent Hill

Porcini Restaurant

Yes

(502) 894-8686

2730 Frankfort Ave.

Fine Northern Italian cuisine

Highlands

Jack Fry’s

Yes

(502) 452-9244

1007 Bardstown Rd.

High-end Southern fare & cocktails

Check out our full list of preferred restaurants at Audience502.com. A U D I E N C E

Brown-Forman Midnight Ramble

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS

PHOTO BY PIPER FERGUSON

Monday, February 28, 2022 | 7:30PM | The Kentucky Center-Whitney Hall

The mission of Jazz at Lincoln Center is to entertain, enrich and expand a global community for Jazz through performance, education and advocacy. With the world-renowned Jazz at Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz at Lincoln Center produces thousands of performance, education, and broadcast events each season in its home in New York City (Frederick P. Rose Hall, “The House of Swing”) and around the world, for people of all ages. Jazz at Lincoln Center is led by Chairman Clarence Otis, Managing and Artistic Director Wynton Marsalis, and Executive Director Greg Scholl. Please visit us at jazz.org. 30

The Jazz at Lincoln Center Orchestra (JLCO), comprising 15 of the finest jazz soloists and ensemble players today, has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and leads educational events in New York, across the U.S. and around the globe; in concert halls; dance venues; jazz clubs; public parks; and with symphony orchestras; ballet troupes; local students; and an ever-expanding roster of guest artists. Under Music Director Wynton Marsalis, the Jazz at Lincoln Center Orchestra performs a vast repertoire, from rare historic compositions to Jazz at Lincoln

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Center-commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles Mingus, and many others.

JAZZ AT LINCOLN CENTER ORCHESTRA Wynton Marsalis Music Director, Trumpet Ryan Kisor Trumpet

Education is a major part of Jazz at Lincoln Center’s mission; its educational activities are coordinated with concert and Jazz at Lincoln Center Orchestra tour programming. These programs, many of which feature Jazz at Lincoln Center Orchestra members, include the celebrated Jazz for Young People™ family concert series; the Essentially Ellington High School Jazz Band Competition & Festival; the Jazz for Young People™ Curriculum; educational residencies; workshops; and concerts for students and adults worldwide. Jazz at Lincoln Center educational programs reach over 110,000 students, teachers and general audience members. Jazz at Lincoln Center, NPR Music and WBGO have partnered to create the next generation of jazz programming in public radio: Jazz Night in America. The series showcases today’s vital jazz scene while also underscoring the genre’s storied history. Hosted by bassist Christian McBride, the program features handpicked performances from across the country, woven with the colorful stories of the artists behind them. Jazz Night in America and Jazz at Lincoln Center’s radio archive can be found at jazz.org/radio. Under Music Director Wynton Marsalis, the Jazz at Lincoln Center Orchestra spends over a third of the year on tour. The big band performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center- commissioned works, including compositions and arrangements by Duke Ellington; Count Basie; Fletcher Henderson;

Kenny Rampton Trumpet Marcus Printup Trumpet Chris Crenshaw Trombone Vincent Gardner Trombone Elliot Mason Trombone Walter Blanding Tenor & Soprano Saxophones, Clarinet Sherman Irby Alto & Soprano Saxophones, Flute, Clarinet Ted Nash Alto & Soprano Saxophones, Flute, Clarinet Victor Goines Tenor & Soprano Saxophones, Clarinet, Bass Clarinet Paul Nedzela Baritone & Soprano Saxophones, Bass Clarinet Dan Nimmer Piano Carlos Henriquez Bass Program to be announced from the stage. Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis. Visit us at jazz.org Become our fan on Facebook: facebook.com/jazzatlincolncenter Follow us on Twitter: twitter.com/jazzdotorg Watch us on YouTube: youtube.com/jazzatlincolncenter

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Artists subject to change.

Thelonious Monk; Mary Lou Williams; Billy Strayhorn; Dizzy Gillespie; Benny Goodman; Charles Mingus; Chick Corea; Oliver Nelson; and many others. Guest conductors have included Benny Carter; John Lewis; Jimmy Heath; Chico O’Farrill; Ray Santos; Paquito D’Rivera; Jon Faddis; Robert Sadin; David Berger; Gerald Wilson; and Loren Schoenberg. Jazz at Lincoln Center also regularly premieres works commissioned from a variety of composers including Benny Carter; Joe Henderson; Benny Golson; Jimmy Heath; Wayne Shorter; Sam Rivers; Joe Lovano; Chico O’Farrill; Freddie Hubbard; Charles McPherson; Marcus Roberts; Geri Allen; Eric Reed; Wallace Roney; and Christian McBride, as well as from current and former Jazz at Lincoln Center Orchestra members Wynton Marsalis, Wycliffe Gordon, Ted Nash, Victor Goines, Sherman Irby, Chris Crenshaw, and Carlos Henriquez. Over the last few years, the Jazz at Lincoln Center Orchestra has performed collaborations with many of the world’s leading symphony orchestras, including the New York Philharmonic; the Russian National Orchestra; the Berlin Philharmonic Orchestra; the Boston, Chicago and London Symphony Orchestras; the Orchestra Esperimentale in São Paolo, Brazil; and others. In 2006, the Jazz at Lincoln Center Orchestra collaborated with Ghanaian drum collective Odadaa!, led by Yacub Addy, to perform “Congo Square,” a composition Mr. Marsalis and Mr. Addy co-wrote and dedicated to Mr. Marsalis’ native New Orleans. The Jazz at Lincoln Center Orchestra performed Marsalis’ symphony, Swing Symphony, with the Berliner Philharmoniker in Berlin and with the New York Philharmonic in New York City in 2010 and with the Los Angeles 32

Philharmonic in Los Angeles in 2011. Swing Symphony is a Co-Commission by the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, and The Barbican Centre. The Jazz at Lincoln Center Orchestra has also been featured in several education and performance residencies in the last few years, including those in Vienne, France; Perugia, Italy; Prague, Czech Republic; London, England; Lucerne, Switzerland; Berlin, Germany; São Paulo, Brazil; Yokohama, Japan; and others.

“Television broadcasts of Jazz at Lincoln Center programs have helped broaden the awareness of its unique efforts in the music.” Television broadcasts of Jazz at Lincoln Center programs have helped broaden the awareness of its unique efforts in the music. Concerts by the Jazz at Lincoln Center Orchestra have aired in the U.S.; England; France; Spain; Germany; the Czech Republic; Portugal; Norway; Brazil; Argentina; Australia; China; Japan; Korea; and the Philippines. Jazz at Lincoln Center has appeared on several XM Satellite Radio live broadcasts and eight Live From Lincoln Center broadcasts carried by PBS stations nationwide; including a program which aired on October 18, 2004 during the grand opening of Jazz at Lincoln Center’s new home, Frederick P. Rose Hall, and on September 17, 2005 during Jazz at Lincoln Center’s Higher Ground Benefit Concert. Jazz at Lincoln Center’s Higher Ground Benefit Concert raised funds for the Higher Ground Relief Fund that was established by Jazz at Lincoln Center,

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and was administered through the Baton Rouge Area Foundation to benefit the musicians, music industry-related enterprises, and other individuals and entities from the areas in Greater New Orleans who were impacted by Hurricane Katrina, and to provide other general hurricane relief. The band is also featured on the Higher Ground Benefit Concert CD that was released on Blue Note Records following the concert. The Jazz at Lincoln Center Orchestra was featured in a Thirteen/WNET production of Great Performances entitled “Swingin’ with Duke: Lincoln Center Jazz Orchestra with Wynton Marsalis”, which aired on PBS in 1999. In September 2002, BET Jazz premiered a weekly series called Journey with Jazz at Lincoln Center, featuring performances by the Jazz at Lincoln Center Orchestra from around the world. In 2015, Jazz at Lincoln Center announced the launch of Blue Engine Records (www.jazz.org/blueengine), a new platform to make its vast archive of recorded concerts available to jazz audiences everywhere. The label is dedicated to releasing new studio and live recordings as well as archival recordings from past Jazz at Lincoln Center performances, and its first record — Live in Cuba, recorded on a historic 2010 trip to Havana by the Jazz at Lincoln Center Orchestra with Wynton Marsalis — was released in October 2015. Big Band Holidays was released in December 2015, The Abyssinian Mass came out in March 2016, The Music of John Lewis was released in March 2017, and Handful of Keys came out in September 2017. Blue Engine’s United We Swing: Best of the Jazz at Lincoln Center Galas features the Wynton Marsalis Septet and an array of special guests, with all proceeds going toward Jazz at Lincoln Center’s education initiatives. Blue Engine’s most

recent album releases include 2018’s Una Noché con Ruben Blades and 2019’s Betty Carter’s The Music Never Stops. 14 other recordings featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis have been released and internationally distributed: Vitoria Suite (2010); Portrait in Seven Shades (2010); Congo Square (2007); Don’t Be Afraid...The Music of Charles Mingus (2005); A Love Supreme (2005); All Rise (2002); Big Train (1999); Sweet Release & Ghost Story (1999); Live in Swing City (1999); Jump Start and Jazz (1997); Blood on the Fields (1997); They Came to Swing (1994); The Fire of the Fundamentals (1993); Portraits by Ellington (1992).

MEET THE ARTISTS WYNTON MARSALIS (Music Director, Trumpet) is the Managing and Artistic Director of Jazz at Lincoln Center. Born in New Orleans, Louisiana in 1961, Mr. Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres. He entered The Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsalis made his recording debut as a leader in 1982 and has since recorded more than 70 jazz and classical albums which have garnered him nine GRAMMY® Awards. In 1983, he became the first and only artist to win both classical and jazz GRAMMY® Awards in the same year; he repeated this feat in 1984. Mr. Marsalis’ rich body of compositions includes Sweet Release; Jazz: Six Syncopated Movements; Jump Start and Jazz; Citi Movement/Griot New York; At the Octoroon Balls; In This House, On This Morning; and Big Train. In 1997, Mr. Marsalis became the first jazz artist to be awarded the prestigious Pulitzer Prize in music for his oratorio Blood on

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the Fields, which was commissioned by Jazz at Lincoln Center. In 1999, he released eight new recordings in his unprecedented Swinging into the 21st series, and premiered several new compositions, including the ballet Them Twos, for a 1999 collaboration with the New York City Ballet. That same year, he premiered the monumental work All Rise, commissioned and performed by the New York Philharmonic along with the Jazz at Lincoln Center Orchestra and the Morgan State University Choir. Sony Classical released All Rise on CD in 2002. Recorded on September 14 and 15, 2001 in Los Angeles in the tense days following 9/11, All Rise features the Jazz at Lincoln Center Orchestra along with the Los Angeles Philharmonic, the Morgan State University Choir, the Paul Smith Singers and the Northridge Singers. In 2004, he released The Magic Hour, his first of six albums on Blue Note records. He followed up his Blue Note debut with Unforgivable Blackness: The Rise and Fall of Jack Johnson, the companion soundtrack recording to Ken Burns’ PBS documentary of the great AfricanAmerican boxer; Wynton Marsalis: Live at The House Of Tribes (2005); From the Plantation to the Penitentiary (2007); Two Men with the Blues, featuring Willie Nelson (2008); He and She (2009); Here We Go Again featuring Willie Nelson, Wynton Marsalis and Norah Jones (2011); and Wynton Marsalis & Eric Clapton Play The Blues (2011). To mark the 200th Anniversary of Harlem’s historical Abyssinian Baptist Church in 2008, Mr. Marsalis composed a full mass for choir and jazz orchestra. The piece premiered at Jazz at Lincoln Center and followed with performances at the celebrated church. Mr. Marsalis composed his second symphony, Blues Symphony, which was premiered in 2009 by the 34

Atlanta Symphony Orchestra and in 2010 by the Boston Symphony Orchestra. That same year, Marsalis premiered his third symphony, Swing Symphony, a Co-Commission by the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, and The Barbican Centre. The Jazz at Lincoln Center Orchestra with Wynton Marsalis performed the piece with the Berliner Philharmoniker in Berlin and with the New York Philharmonic in New York City in 2010 and with the Los Angeles Philharmonic in Los Angeles in 2011. Mr. Marsalis is also an internationally respected teacher and spokesman for music education, and has received honorary doctorates from dozens of universities and colleges throughout the U.S. He conducts educational programs for students of all ages and hosts the popular Jazz for Young People™ concerts produced by Jazz at Lincoln Center. Mr. Marsalis has also written and is the host of the video series “Marsalis on Music” and the radio series Making the Music. He has also written six books: Sweet Swing Blues on the Road, in collaboration with photographer Frank Stewart; Jazz in the Bittersweet Blues of Life, with Carl Vigeland; To a Young Musician: Letters from the Road, with Selwyn Seyfu Hinds; Squeak, Rumble, Whomp! Whomp! Whomp!, illustrated by Paul Rogers, published in 2012; and Moving to Higher Ground: How Jazz Can Change Your Life, with Geoffrey C. Ward, published by Random House in 2008. In October 2005, Candlewick Press released Marsalis’ Jazz ABZ: An A to Z Collection of Jazz Portraits, 26 poems celebrating jazz greats, illustrated by poster artist Paul Rogers. In 2001, Mr. Marsalis was appointed Messenger of Peace by Mr. Kofi Annan, former Secretary-General of the United Nations;

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he has also been designated cultural ambassador to the United States of America by the U.S. State Department through their CultureConnect program. In 2009, Mr. Marsalis was awarded France’s Legion of Honor, the highest honor bestowed by the French government. Mr. Marsalis serves on former Lieutenant Governor Landrieu’s National Advisory Board for Culture, Recreation and Tourism, a national advisory board to guide the Lieutenant Governor’s administration’s plans to rebuild Louisiana’s tourism and cultural economies. He has also been named to the Bring New Orleans Back Commission, former New Orleans Mayor C. Ray Nagin’s initiative to help rebuild New Orleans culturally, socially, economically, and uniquely for every citizen. Mr. Marsalis was instrumental in the Higher Ground Hurricane Relief concert, produced by Jazz at Lincoln Center, which raised over $3 million for the Higher Ground Relief Fund to benefit the musicians, music industry related enterprises, and other individuals and entities from the areas in Greater New Orleans who were impacted by Hurricane Katrina. He led the effort to construct Jazz at Lincoln Center’s new home – Frederick P. Rose Hall – the first education, performance, and broadcast facility devoted to jazz, which opened in October 2004. WALTER BLANDING (Tenor and Soprano Saxophones, Clarinet) was born into a musical family on August 14, 1971 in Cleveland, Ohio, and began playing the saxophone at age six. In 1981, he moved with his family to New York City; by age 16, he was performing regularly with his parents at the Village Gate. Blanding attended LaGuardia High School of Music & Art and Performing Arts and continued his studies at the New School for Social Research, where he earned a B.F.A. in

2005. His 1991 debut release, Tough Young Tenors, was acclaimed as one of the best jazz albums of the year, and his artistry began to impress listeners and critics alike. He has been a member of the Jazz at Lincoln Center Orchestra since 1998 and has performed, toured, and/or recorded with his own groups and with such renowned artists as the Cab Calloway Orchestra, Roy Hargrove, Hilton Ruiz, Count Basie Orchestra, Illinois Jacquet Big Band, Wycliffe Gordon, Marcus Roberts, Wynton Marsalis Quintet, Isaac Hayes, and many others. Blanding lived in Israel for four years and had a major impact on the music scene while touring the country with his own ensemble and with U.S. artists such as Louis Hayes, Eric Reed, Vanessa Rubin, and others invited to perform there. He taught music in several Israeli schools and eventually opened his own private school in Tel Aviv. During this period, Newsweek International called him a “Jazz Ambassador to Israel.” CHRIS CRENSHAW (Trombone) was born in Thomson, Georgia on December 20, 1982. Since birth, he has been driven by and surrounded by music. When he started playing piano at age three, his teachers and fellow students noticed his aptitude for the instrument. This love for piano led to his first gig with Echoes of Joy, his father Casper’s gospel quartet group. He started playing the trombone at 11, receiving honors and awards along the way, he graduated from Thomson High School in 2001 and received his Bachelor’s degree with honors in Jazz Performance from Valdosta State University in 2005. He was awarded Most Outstanding Student in the VSU Music Department and College of Arts. In 2007, Crenshaw received his Master’s degree in Jazz Studies from The Juilliard School, where his teachers included

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UPCOMING EVENTS MARCH 5

Festival of Latin American Music Part 1 Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

Festival of Latin American Music Part 2 Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

A Tribute to ABBA Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

22 – 27

Mean Girls PNC Broadway in Louisville Whitney Hall louisville.broadway.com

APRIL 2

Sheherazade Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org

Alton Brown Live Beyond the Eats 6:30, Whitney Hall kentuckyperformingarts.org

Michael Cavanaugh Plays Music of Elton John Louisville Orchestra 8PM, Whitney Hall louisvilleorchestra.org For more of our preferred arts and entertainment recommendations, visit Audience502.com. 36

Dr. Douglas Farwell and Wycliffe Gordon. He has appeared as a sideman on fellow JLCO trumpeter Marcus Printup’s Ballads All Night and on Wynton Marsalis and Eric Clapton Play the Blues. In 2006, Crenshaw joined the Jazz at Lincoln Center Orchestra and in 2012 he composed God’s Trombones, a spiritually focused work which was premiered by the orchestra at Jazz at Lincoln Center. VINCENT GARDNER (Trombone) was born in Chicago in 1972 and was raised in Hampton, Virginia. After singing, playing piano, violin, saxophone, and French horn at an early age, he decided on the trombone at age 12. He attended Florida A&M University and the University of North Florida. He soon caught the ear of Mercer Ellington, who hired Gardner for his first professional job. He moved to Brooklyn, New York after graduating from college, completed a world tour with Lauryn Hill in 2000, and then joined the Jazz at Lincoln Center Orchestra. Gardner has served as Instructor at The Juilliard School, as Visiting Instructor at Florida State University and Michigan State University, and as Adjunct Instructor at The New School. He is currently the Director of the Jazz at Lincoln Center Youth Orchestra, and he has contributed many arrangements to the Jazz at Lincoln Center Orchestra and other ensembles. In 2009 he was commissioned by Jazz at Lincoln Center to write The Jesse B. Semple Suite, a 60-minute suite inspired by the short stories of Langston Hughes. In addition, Gardner is a popular instructor at Jazz at Lincoln Center’s ongoing jazz education program, Swing University, teaching courses on bebop and more. Gardner is featured on a number of notable recordings and has recorded five

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CDs as a leader for Steeplechase Records. He has performed with The Duke Ellington Orchestra, Bobby McFerrin, Harry Connick, Jr., The Saturday Night Live Band, Chaka Khan, A Tribe Called Quest, and many others. Gardner was chosen as the #1 Rising Star Trombonist in the 2014 DownBeat Critics Poll. VICTOR GOINES (Tenor and Soprano Saxophones, Clarinet, Bass Clarinet) is a native of New Orleans, Louisiana. He has been a member of the Jazz at Lincoln Center Orchestra and the Wynton Marsalis Septet since 1993, touring throughout the world and recording over 20 albums. As a leader, Goines has recorded seven albums including his latest releases, Pastels of Ballads and Blues (2007) and Love Dance (2007) on Criss Cross Records, and Twilight (2012) on Rosemary Joseph Records. A gifted composer, Goines has more than 50 original works to his credit, including 2014’s Crescent City, premiered by the Jazz at Lincoln Center Orchestra. He has recorded and/or performed with many noted jazz and popular artists including Ahmad Jamal, Ruth Brown, Dee Dee Bridgewater, Ray Charles, Bob Dylan, Dizzy Gillespie, Lenny Kravitz, Branford Marsalis, Ellis Marsalis, Dianne Reeves, Willie Nelson, Marcus Roberts, Diana Ross, Stevie Wonder, and a host of others. Currently, he is the Director of Jazz Studies/Professor of Music at Northwestern University. He received a Bachelor of Music degree from Loyola University in New Orleans in 1984, and a Master of Music degree from Virginia Commonwealth University in Richmond in 1990. CARLOS HENRIQUEZ (Bass) was born in 1979 in the Bronx, New York. He studied music at a young age, played guitar through junior high school

and took up the bass while enrolled in The Juilliard School’s Music Advancement Program. He entered LaGuardia High School of Music & Arts and Performing Arts and was involved with the LaGuardia Concert Jazz Ensemble which went on to win first place in Jazz at Lincoln Center’s Essentially Ellington High School Jazz Band Competition & Festival in 1996. In 1998, swiftly after high school, Henriquez joined the Wynton Marsalis Septet and the Jazz at Lincoln Center Orchestra, touring the world and featured on more than 25 albums. Henriquez has performed with artists including Chucho Valdés, Paco De Lucía, Tito Puente, the Marsalis Family, Willie Nelson, Bob Dylan, Stevie Wonder, Lenny Kravitz, Marc Anthony, and many others. He has been a member of the music faculty at Northwestern University School of Music since 2008 and was music director of the Jazz at Lincoln Center Orchestra’s cultural exchange with the Cuban Institute of Music with Chucho Valdés in 2010. His debut album as a bandleader, The Bronx Pyramid, came out in September 2015 on Jazz at Lincoln Center’s Blue Engine Records. SHERMAN IRBY (Alto and Soprano Saxophones, Flute, Clarinet) was born and raised in Tuscaloosa, Alabama. He found his musical calling at age 12 and in high school he played and recorded with gospel immortal James Cleveland. He graduated from Clark Atlanta University with a B.A. in music education. In 1991 he joined Johnny O’Neal’s Atlanta-based quintet. In 1994 he moved to New York City and recorded his first two albums, Full Circle (1996) and Big Mama’s Biscuits (1998), on Blue Note. Irby toured the U.S. and the Caribbean with the Boys Choir of Harlem in 1995 and was a member of the Jazz at Lincoln Center Orchestra from 1995 to 1997.

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During that tenure he also recorded and toured with Marcus Roberts and was part of Betty Carter’s Jazz Ahead Program and Roy Hargrove’s ensemble. After a fouryear stint with Roy Hargrove, Irby focused on his own group in addition to being a member of Elvin Jones’ ensemble in 2004 and then Papo Vazquez’ Vazquez’s Pirates Troubadours after Jones’ passing. From 2003–11 Irby was the regional director for JazzMasters Workshop, mentoring young children, and he has served as artist-in-residence for Jazz Camp West and an instructor for Monterey Jazz Festival Band Camp. He is a former board member for the CubaNOLA Collective. He formed Black Warrior Records and released Black Warrior, Faith, Organ Starter, Live at the Otto Club, and Andy Farber’s This Could Be the Start of Something Big. Since rejoining, Irby has arranged much of the Jazz at Lincoln Center Orchestra’s music, and he has been commissioned to compose new works, including Twilight Sounds, and his Dante-inspired ballet, Inferno. RYAN KISOR (Trumpet) was born on April 12, 1973 in Sioux City, Iowa, and began playing trumpet at age four. In 1990, he won first prize at the Thelonious Monk Institute’s first annual Louis Armstrong Trumpet Competition. Kisor enrolled in Manhattan School of Music in 1991 where he studied with trumpeter Lew Soloff. He has performed and/or recorded with the Mingus Big Band, the Gil Evans Orchestra, Horace Silver, Gerry Mulligan and Charlie Haden’s Liberation Music Orchestra, the Carnegie Hall Jazz Band, the Philip Morris Jazz All-Stars, and others. In addition to being an active sideman, Kisor has recorded several albums as a leader, including Battle Cry (1997), The Usual Suspects (1998), and Point of Arrival (2000). He has been a member of the Jazz at Lincoln Center Orchestra since 1994. 38

ELLIOT MASON (Trombone) was born in England in 1977 and began trumpet lessons at age four with his father. At age seven, he switched his focus from trumpet to trombone. At 11 years old, he was performing professionally, concentrating on jazz and improvisation. At 16, Mason received a full tuition scholarship to attend Berklee College of Music in Boston, and after graduating he moved to New York City. Mason is a member of The Juilliard School Jazz Faculty as a jazz trombone professor, and he is also a part of the Jazz Faculty at New York University. Mason has served as a clinician worldwide, performing workshops, master classes and clinics. Mason is endorsed by B.A.C. musical instruments and currently plays his own co-designed custom line of trombones. Mason has performed with the Count Basie Orchestra, the Mingus Big Band, the Maria Schneider Orchestra, the Maynard Ferguson Big Bop Nouveau, Chick Corea, Kenny Garrett, Bobby Hutcherson, Ahmad Jamal, Randy Brecker, and Carl Fontana. A member of the Jazz at Lincoln Center Orchestra since 2006, Mason also continues to co-lead the Mason Brothers Quintet with his brother Brad. The Mason Brothers recently released their second album, entitled Efflorescence. TED NASH (Alto and Soprano Saxophones, Flute, Clarinet) enjoys an extraordinary career as a performer, conductor, composer, arranger, and educator. Born in Los Angeles into a musical family (his father, Dick Nash, and uncle, the late Ted Nash, were both well-known jazz and studio musicians), Nash blossomed early, a “young lion” before the term became marketing vernacular. Nash has that uncanny ability to mix freedom with accessibility, blues with intellect, and risk-taking with clarity.

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His group Odeon has often been cited as a creative focus of jazz. Many of Nash’s recordings have received critical acclaim and have appeared on the “best-of” lists in The New York Times, The New Yorker, The Village Voice, and The Boston Globe. His recordings, The Mancini Project and Sidewalk Meeting, have been placed on several “best-of-decade” lists. His album Portrait in Seven Shades was recorded by the Jazz at Lincoln Center Orchestra and was released in 2010. The album is the first composition released by the JLCO featuring original music by a band member other than bandleader Wynton Marsalis. Nash’s latest album, Chakra, was released in 2013. His most recent big band recording, Presidential Suite: Eight Variations on Freedom, won the 2017 Best Large Jazz Ensemble Album Grammy Award. The album includes “Spoken at Midnight,” which won the 2017 Best Instrumental Composition Grammy Award. Nash’s arrangement of “We Three Kings,” featured on the Jazz at Lincoln Center Orchestra with Wynton Marsalis’ Big Band Holidays album, was nominated for the 2017 Best Instrumental Or A Cappella Arrangement Grammy Award. PAUL NEDZELA (Baritone and Soprano Saxophones, Bass Clarinet) has become one of today’s top baritone saxophone players. He has played with many renowned artists and ensembles, including Wess Anderson, George Benson, The Birdland Big Band, Bill Charlap, Chick Corea, Paquito D’Rivera, Michael Feinstein, Benny Golson, Wycliffe Gordon, Roy Haynes, Christian McBride, Eric Reed, Dianne Reeves, Herlin Riley, Maria Schneider, Frank Sinatra Jr., The Temptations, The Vanguard Jazz Orchestra, Reginald Veal, and Max Weinberg. Nedzela has performed in Twyla Tharp’s Broadway show, Come Fly Away, and in major festivals around the

world. He has studied with some of the foremost baritone saxophonists in the world, including Joe Temperley, Gary Smulyan, and Roger Rosenberg. Nedzela graduated with honors from McGill University in Montreal with a Bachelor of Arts degree in mathematics in 2006. A recipient of the Samuel L. Jackson Scholarship Award, he continued his musical studies at The Juilliard School and graduated with a Master of Music degree in 2008. DAN NIMMER (Piano) was born in 1982 in Milwaukee, Wisconsin. With prodigious technique and an innate sense of swing, his playing often recalls that of his own heroes, specifically Oscar Peterson, Wynton Kelly, Erroll Garner, and Art Tatum. As a young man, Nimmer’s family inherited a piano and he started playing by ear. He studied classical piano and eventually became interested in jazz. At the same time, he began playing gigs around Milwaukee. Upon graduation from high school, Nimmer left Milwaukee to study music at Northern Illinois University. It didn’t take him long to become one of Chicago’s busiest piano players. Working a lot in the Chicago scene, Nimmer decided to leave school and make the big move to New York City where he immediately emerged in the New York scene. A year after moving to New York City, he became a member of the Jazz at Lincoln Center Orchestra and the Wynton Marsalis Quintet. Nimmer has worked with Norah Jones, Willie Nelson, Dianne Reeves, George Benson, Frank Wess, Clark Terry, Tom Jones, Benny Golson, Lewis Nash, Peter Washington, Ed Thigpen, Wess “Warmdaddy” Anderson, Fareed Haque, and many more. He has appeared on The Tonight Show with Jay Leno, The Late Show with David Letterman, The View, The Kennedy Center Honors, Live from Abbey

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THE KENTUCKY CRAFTED

MARKET MARCH 12-13 2022 LEXINGTON KENTUCKY KENTUCKY HORSE PARK ALLTECH ARENA

K E N T U C K Y

A R T S C O U N C I L . K Y.G OV 40

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ARTWORK BY SHARON TESSER

Road, and PBS’ Live from Lincoln Center, among other broadcasts. He has released four of his own albums on the Venus label (Japan). MARCUS PRINTUP (Trumpet) was born and raised in Conyers, Georgia. His first musical experiences were hearing the fiery gospel music his parents sang in church. While attending the University of North Florida on a music scholarship, he won the International Trumpet Guild Jazz Trumpet competition. In 1991, Printup’s life changed when he met his mentor, the great pianist Marcus Roberts, who introduced him to Wynton Marsalis. This led to Printup’s induction into the Jazz at Lincoln Center Orchestra in 1993. Printup has recorded with Betty Carter, Dianne Reeves, Eric Reed, Madeline Peyroux, Ted Nash, Cyrus Chestnut, Wycliffe Gordon, and Roberts, among others. He has recorded several records as a leader: Song for the Beautiful Woman, Unveiled, Hub Songs, Nocturnal Traces, The New Boogaloo, Peace in the Abstract, Bird of Paradise, London Lullaby, Ballads All Night, A Time for Love, and his most recent, Homage (2012) and Desire, (2013) featuring Riza Printup on the Harp. He made a big screen appearance in the 1999 movie Playing by Heart and recorded on the film’s soundtrack. Education is important to Printup, as he is an in-demand clinician teaching middle schools, high schools, and colleges across the U.S. He teaches privately at the prestigious Mannes New School of Music. August 22nd has been declared “Marcus Printup Day” in his hometown of Conyers, Georgia.

trumpet voice for the popular PBS TV series Sesame Street. In the summer of 2010, Rampton performed with The Scottish National Jazz Orchestra at the Edinburgh International Festival and was the featured soloist on the Miles Davis/Gil Evans classic version of “Porgy and Bess.” Rampton has been a regular member of The Mingus Big Band/Orchestra/Dynasty, Mingus Epitaph (under the direction of Gunther Schuller), George Gruntz’ Concert Jazz Band, Chico O’Farrill’s AfroCuban Jazz Orchestra, Bebo Valdez’ Latin Jazz All-Stars, and The Manhattan Jazz Orchestra. He spent much of the 1990s touring the world with The Ray Charles Orchestra, The Jimmy McGriff Quartet, legendary jazz drummer Panama Francis (and the Savoy Sultans), as well as jazz greats Jon Hendricks, Lionel Hampton, and Illinois Jacquet. As a sideman, Rampton has also performed with Dr. John, Christian McBride, The Maria Schneider Orchestra, Charles Earland, Geoff Keezer, and a host of others. Some of Rampton’s Broadway credits include Anything Goes, Finian’s Rainbow, The Wiz, Gentlemen Prefer Blondes, Young Frankenstein, and The Color Purple.

KENNY RAMPTON (Trumpet) joined the Jazz at Lincoln Center Orchestra in 2010. In addition to performing in the JLCO, Rampton leads his own groups. He released his debut solo CD Moon Over Babylon in 2013. He is also the A U D I E N C E

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ANNUAL SUPPORT Abhay & Amy Lele Pamela Leezer & Henry Harris Joe Lewis Kristy Lewis David & Phyllis Leibson LEO Weekly** LG&E & KU Services Company Ms. Anne Liechty Lincoln Trail Title Jerry Lindsey Mary Linkous Ronald Loughry & Bethany Breetz Louisville/Jefferson County Metro Government Louisville Public Media** Louisville Tourism Mr. Todd P. Lowe & Ms. Fran C. Ratterman Ms. Diane Loy George Lucier Jim & Lois Luckett Mr. Robin Luckett Mr. James D. Ludwig Mr. & Mrs. Philip Lynch Robert Major Mr. & Mrs. Brian Manlove Mansbach Endowment Fund at Foundation for the Tri-State Community John & D’Ann Markert Tom & Joslyn Marksbury Ms. Jane Martin & Ms. Janet Childress Martha & Jerry Martin William & Sandra Martz Leolie & David Marquez Mr. Anthyun Mask Malinda & Billy Masterson Craig & Karen Matthews James Mauch & Sharon Smith Craig & Lauren Maxey David & Emily McCay Mr. Darrin & Ms. Becky McElroy Martha McLaughlin Madelyn Mees Lori & Michael Mehlbauer The Melcher Family Drs. Chris Mescia & Tricia J. Gray Mr. & Mrs. Barry P. Meyers Linda & David Miles Dave & Terri Miller Robert E. Milward Fund at Blue Grass Community Foundation Mr. William Mitchell Jack & Marilyn Monohan Ms. Biljana N. Monsky Mrs. Terri Montgomery Mr. Don & Mrs. Lisa Moore Jim & Chambers Moore Mrs. Pat Moremen Mountjoy Chilton Medley LLP Ms. Eleanor Bingham Miller Mr. & Mrs. R. Charles Moyer Marti & Hubert Mountz Mr. Glen E. Mowbray & Ms. Colette Crown Shivaram Muddappa Mrs. Patricia Muench Dr. Sean Muldoon Cynthia Murphy Martha Miracle Murphy Eric Murray Gloria Jean Murray

Mr. Scott Murray Marcia Myers Mr. Alan Nakamura National Conference of Governor’s Schools Robert & Sharon Nesmith Mr. & Mrs. Theodore H.Nixon Esther Nnassanga Ms. Susan H. Norris The Norton Foundation, Inc. Nu-Yale Cleaners** Mr. & Mrs. Dan O’Brien Ms. Ann Ogden Mrs. Judith Olliges Mr. Kevin Olusola Doug & Shari Owen Stephen & Cindy Owen Mr. & Mrs. Gord Pageau Erin Palmer & Tyler Kinney Ms. Meredith Parente Annabelle Park Ms. Tara Parker Mr. & Mrs. Don E. Parkinson Adrian S. Partridge Mr. & Mrs. Ronald Payne Mr. Bryan Peck Ms. Lynn Pereira Mr. Tom Person & Mrs. Melissa Richards-Person Duane Peterson Tony Petrelli Ms. Judith N. Petty Mr. & Mrs. Michael Phelps Yvone Plier PNC Bank PNC Broadway in Louisville/ Louisville Theatrical Society Mr. Stuart Pollard Henry & Sharon Potter Ms. Joy Potts Shane Powers Stephen D. Prather Mr. Mark Preischel Gordon & Patty Rademaker Dr. & Mrs. Julio Ramirez Mr. & Mrs. Teddy H. Redmon Tracy Redmon Rick & Becky Reed Ms. Linda Remington Kathleen Reno & Tom Payette Republic Bank Will & Becky Richards Dr. Jeffrey Richardson For Louis V. Richter Bobby & Caroline Riede Ms. Tammy Rigney Mr. Thaddeus Riley Riverbend Financial Group RJE Business Interiors Mrs. Barbara Roberts Jonathan & Julie Roberts Mr. Stinson Robinson Laura Rogers Alan & Beatrice Rosenberg Mr. & Mrs. Robert W. Rounsavall, III Mark & Kay Rountree Mr. Anthony & Mrs. Jane Ruhl Loy Rush Russell Saunders Michael Schissler & Kristan Milam Ms. Stephanie Schaefer Chuck & Mary Ellen Schmidt Curtis & Ashley Rose Schneider Dr. Marilyn Schorin

Rachael Scwhwartz Mr. Terry Schwartz Mr. Mason Scisco David C. Scott Foundation Fund Ellen & Max Shapira Brett & Andrea Shepherd The Sherwin-Williams Company Mrs. Cindi Shrader Dr. & Mrs. Saleem Seyal Holly Sibrary & Stephen Belcher Lesa & Gregg Siebert Dr. Nicholas Silvestros Ms. Ruth Simons Danny & Amy Singleton Mr. & Mrs. Joseph Sireci Mr. & Mrs. Edward Skarbek Mr. & Mrs. Ted Sloan Drs. Kyle & Laura Slone Mr. & Mrs. Darin Smith Mr. Darrell Smith Jill Smith Irvin & Connie Smith Ms. Laura Smith Mollie Smith Snowy Owl Foundation Mr. & Mrs. Kenney M. Snell Whitney & Trevor Soergel Tom & Cara Solley George & Karin Sonnier David & Rebecca Sourwine South Arts Dr. Charles Sowder Laura Spaulding Mr. & Mrs. Ryan Sprau Mr. Mitchell Stallsmith Robert Steen Mr. Robert Steinmetz & Mrs. Barbara Elliott Anna Stephens Ms. Sharon Stetter Dr. Don Stevens Stites & Harbison, PLLC Mary Clay Stites Stock Yards Bank & Trust Co. Matthew Stone Drs. Catherine Newton & Gordon Strauss Mr. Jeff Stream Lindy Street Hunter & Audrey Strickler Dr. & Mrs. Gerald F. Sturgeon Mr. & Mrs. Matthew Sturgeon Scott Swalls Barbara & Richard Sweet Anne Swope Keith & Jennifer Tarter Bob Taylor & Linda Shapiro Mr. John Tederstrom & Mr. Mark Cannon Arthur & Mary Thacker The 10th Planet** Tessitura Network** Ms. Brenda Thompson Mac & Jessica Thompson Mr. & Mrs. Steve Thompson Mr. Christopher M. Todoroff Josh Toole Tourism, Arts & Heritage Cabinet Toyota Motor Manufacturing, Kentucky Trace3** Fernando Trevino Ms. Karen Troutman Truist

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Dr. Mureena Turnquest & Dr. Kevin Wells Mrs. Melanie Twyman Bob & Vicky Ullrich University of Kentucky College of Design** University of Kentucky College of Fine Arts** University of Kentucky Office of the Provost** USI Insurance Services, LLC Mr. Randall Vaughn David & Susan Vislisel Mr. & Mrs. David Vogel Mrs. Kellie Vogt Mr. & Mrs. Mark Vogt Robert & Bonnie Vogt The Voice-Tribune Volunteers of the Kentucky Center* Jim & Libby Voyles Ms. Jeanne D. Vuturo Gary Wall Brian Wallace & Nelda Lewis Wallace Karyn Walters, M.D. Beth Ward Charles & Nina Wardrip Water Energizers** Ann Waterman & Niles Welch Karyn Watters, M.D. Ms. Jennifer Love Webb Ms. Kristen Webb-Hill Nathan & Olivia Webb Mr. & Mrs. Greg Weishar Dr. & Mrs. Robert Weiss Welch Printing** Mr. James & Ms. Catherine Werner John & Marilyn Werst Melany Wessels Ms. Rebecca West WHAS 11** Mr. & Mrs. Stephen F. Wheeler Rick & Denise Whelan Mary Jo White & Tim Shull Lorraine Whitney Antonio Wickliffe P.J. Williams Patty & Jim Williamson Dr. Floyd T. Wilkerson Wilmes & Associates/Architects, PSC Benjamin Wiseman Eric & Elizabeth Witherspoon Mr. & Mrs. Jonathan Wolff Mark Wood & Barbara Dejean Phoebe Wood Rev. Joan Wooden Ms. Grace Wooding Michael & Jeanne Wright David F. Young & Cheryl Cahill Yum! Brands, Inc. The Zamiska Family Dominic & Lisa Zangari Dr. Kenneth & Shelly Zegart Mr. Brian Zehnder & Ms. Melissa Rolf Dr. & Mrs. Nathan Zimmerman Cynthia and Joel Zipperle Ms. Susan G. Zepeda & Dr. Fred P. Seifer *Kentucky Performing Arts Volunteers’ value of donated time is more than $100,000 annually **In-Kind Donation

KENTUCKY PERFORMING ARTS BOARD OF DIRECTORS Marianne Butler, Chair • Robert M. Klein, Vice-Chair Mary R. Nixon, Secretary • Gregory J. Bubalo, Treasurer Laura Melillo Barnum Eileen Cooke Brown Hannah L. Drake JP Davis Paula Harshaw

William H. Jones Kate Latts Joseph Leavell Patricia A. Mathison Bruce C. Merrick

Madeline Abramson Owsley Brown II (1942–2011) Wendell Cherry (1935–1991)

Gordon B. Davidson (1926–2015) C. Edward Glasscock

James K. Murphy Stephen T. Owen Lindy Street Rev. Dr. Valerie Washington Sarah Yarmuth

DIRECTORS EMERITI Robert W. Rounsavall, III Rose Lenihan Rubel (1922–2002)

KENTUCKY PERFORMING ARTS FOUNDATION, INC. BOARD OF DIRECTORS Todd Lowe, Chair Kim Baker, Vice-Chair • Leah Huddleston, Secretary • R.K. Guillaume, Treasurer Carolle Jones Clay J. Tim Galbraith Ankur N. Gopal Lillian Hunt

Chris Kipper Phil Lynch R. Charles Moyer Doug Owen

Melissa Richards-Person Eileen Saunders Felicia Cumings Smith Diane Tobin

Ruth Wimsatt Trautwein Lisa Zangari Cindy Zipperle

KENTUCKY PERFORMING ARTS EXECUTIVE STAFF Kim Baker President and CEO

Chris Kaelin Vice President, Operations

Heather Weston Bell Senior Vice President, Community Engagement

Will Richards Vice President, Facilities & Production

Dawn Driskell Vice President, Finance

Julie Roberts Vice President, Development & Advocacy

Rob Schmidlapp Vice President, Information Systems Christian Adelberg Vice President, Marketing & Communications

KENTUCKY PERFORMING ARTS ENCORE SOCIETY The Encore Society recognizes individuals who have demonstrated support for the long-term well-being of Kentucky Performing Arts with an estate gift or notification of their bequest intention or other planned gift.

The Honorable & Mrs. Jerry E. Abramson Anonymous Mr. and Mrs. Tom & Robbie Bell Ms. Jennifer L. Bobbitt Janet R. Dakan 44

Mrs. William Habich Mrs. Ada Lee Kane Mrs. Helen Lang Kathy Monin Mr. and Mrs. Don E. Parkinson Ms. Terry H. Sales A U D I E N C E

Sharon Sanak Ms. Helen Stockton Mrs. Murrel Straley Jeanne D. Vuturo Jennifer Love Webb

CORPORATE AND FOUNDATION SUPPORT We salute the following organizations for their support of Kentucky Performing Arts:

B. J. KILLIAN FOUNDATION

Welch Printing

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KENTUCKY PERFORMING ARTS SERVICES TICKETS For complete event information and to order tickets by phone, call Kentucky Performing Arts Ticket Service at (502) 584-7777 or order tickets online at KentuckyPerformingArts.org. Kentucky Performing Arts Ticket Service’s hours are 10 a.m. to 6 p.m., Monday through Saturday, and 1 p.m. to 6 p.m. on Sunday. Drive-thru ticket service is open 11 a.m. to 6 p.m., Monday through Friday. Tickets purchased by phone and online are subject to service charges. On performance dates, the ticket office is open one-half hour past curtain time. Gift certificates are available in any dollar amount at the Box Office and are not redeemable for cash. MAIN PHONE NUMBER (502) 562-0100 PARKING More than 2,000 parking spaces offer direct access to The Kentucky Center from Sixth St. The elevators located in the garage will take you to the main lobby. You may also enter the Riverfront Garage from Fourth or Sixth Sts. Level C of the garage also will give you direct access to the main lobby. At the Brown Theatre, parking is available in the lot across from the theatre, and parking garage entrances are located on Third St., north of Broadway or on Fourth St., north of Broadway. At Old Forester’s Paristown Hall, parking is available in the neighboring Swan Street and Vine Street lots. FACILITIES RENTAL From a wedding reception to a convention, Kentucky Performing Arts’ venues, The Kentucky Center, the Brown Theatre and Old Forester’s Paristown Hall, are the perfect place to “stage” your event. For more information, contact Stacey Hallahan, shallahan@kentuckyperformingarts.org. KPA DONORS Kentucky Performing Arts donors receive a variety of benefits, including buying tickets before the public, priority seating, and no handling fees. For more information, contact (502) 566-5144 or visit SUPPORT KPA on our website. For Corporate Membership benefits, contact Julie Roberts at (502) 562-0100, Ext. 105, or jroberts@kentuckyperformingarts.org. VOLUNTEERS The Volunteer Program offers the public a chance to be a part of the great events at The Kentucky Center, the Brown Theatre and Old Forester’s Paristown Hall. To volunteer, contact the Volunteer Hotline at (502) 566-5141. 46

COURTESY • As a courtesy to the performers and other audience members, please turn off all audible message systems. • The emergency phone number to leave with babysitters or message centers are (502) 566-5128 (The Kentucky Center) and (502) 566-5188 (The Brown Theatre). • Be sure to leave your theater and seat number for easy location. • Cameras and recording devices are not allowed in the theaters. • Latecomers will be seated at appropriate breaks in the program, as established by each performing group. Please be considerate of your fellow audience members during performances. Please remain seated after the performance until the lights are brought up. • Children should be able to sit in a seat quietly throughout the performance. • To properly enforce fire codes, everyone attending an event, regardless of age, must have a ticket. ACCESSIBILITY Wheelchair accessible seating at Kentucky Performing Arts venues is available on every seating and parking level, as well as ticket counters and personal conveniences at appropriate heights. FM and infrared hearing devices are available to provide hearing amplification for patrons with hearing disabilities in all spaces of The Kentucky Center, the Brown Theatre, and Old Forester’s Paristown Hall, including meeting spaces. Audio Description is available for selected performances for patrons who are blind or have low vision. Caption Theater is available for selected performances as a service for patrons who are deaf or hard of hearing. Program materials are available in large-print from your usher. Please make reservations for services at the time you purchase your ticket through the Box Office to ensure the best seating location for the service requested. Call (502) 566-5111 (V), 711 (TRS), or email access@kentuckycenter.org for more information about the range of accessibility options we offer, or to receive this information in an alternate format.

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LO_FOLAM_Audience_Halfpage.pdf

1/10/22

1:17 PM

LOUISVILLE ORCHESTRA PRESENTS

THE COLOR, PASSION, AND RHYTHMIC ENERGY OF LATIN MUSIC EXPLODES WITH BRILLIANT WORKS.

New works and a First Edition commission celebrate the trailblazing spirit of the Louisville Orchestra, featuring the exciting young timba band, PEOPLE OF EARTH. Prepare for dazzling concerts showcasing the variety and sophistication of music of Latin American composers and those inspired by these vibrant cultures.

WORLD PREMIERE PERFORMANCES

FESTIVAL OF LATIN AMERICAN MUSIC 1 Teddy Abrams, conductor | 4 MAR 11AM

CMY

•

5 MAR 8PM

| Kentucky Center

Heitor VILLA-LOBOS: Alvarada na floresta tropical (“Dawn in a Tropical Forest”) Dafnis PRIETO: Tentación (“Temptation”) WORLD PREMIERES Angélica NEGRÓN: Fractal Isles Leonard BERNSTEIN: Symphonic Dances from West Side Story

FESTIVAL OF LATIN AMERICAN MUSIC 2 Teddy Abrams, conductor |

11 MAR 11AM

•

12 MAR 8PM

Kentucky Center

Aaron COPLAND: El Salón México Gabriela Lena FRANK: Concertiňo Cusqueňo Jose Pablo MONCAYO: Cumbres (”Summits”) Clarice ASSAD: Nhanderu Arturo MARQUEZ: Danzón No. 2 George GERSHWIN: Cuban Overture

CONCIERTO DE ARANJUEZ

Kalena Bovell, conductor | Stephen Mattingly, guitar | 24, 25, 26 MAR Check website for locations and times Georges BIZET: Suite No. 1 from Carmen Joaquin RODRIGO: Concierto de Aranjuez Alberto GINASTERA: Variaciones concertantes

502-587-8681

LouisvilleOrchestra.org/concerts. Covid protocols apply

Audience | Kentucky Performing Arts | February 2022

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