Mentoring Black youth part of province’s action plan

When Mariama Barrie was starting her career, she received guidance and advice from a mentor at Toronto’s Nia Centre for the Arts.

And once she started her own event planning business, she began sharing her expertise with youth in the community as part of a program that was recently chosen for expansion under the Ontario government’s $47 million Ontario Black Youth Action Plan.

The plan, a provincial first, will fund agencies that support youth, aiming to help more than 10,000 Black children across the province in their communities.

Michael Coteau, minister of children and youth services, recently announced that $9 million of the funding will be spent on mentorship programs in Greater Toronto, Hamilton, Ottawa and Windsor, over the next four years — programs that include everything from arts activities to academic help to boosting job skills.

Coteau, who is also responsible for the province’s anti-racism initiatives, said the mentoring programs are “a great example of an on-the-ground solution to help improve the futures of Black children, youth and their families.”

The province’s action plan was created in response to statistics that show Black youth are overrepresented in the care of children’s aid, are more likely to drop out of high school and face high unemployment rates.

Dwayne Dixon, executive director of the Nia Centre near Oakwood Ave. and Vaughan Rd., said “very early in my artistic journey, when I was coming up, there were very limited opportunities — financial or otherwise — for young Black artists to make the arts a viable career choice,” and he’s confident “experiences like mine will be the exception and not the rule.”

Nia not only runs programs like the one Barrie volunteered for, called the “Follow Your Instinct” internship, but also a larger program that helps budding artists job shadow professionals, take on apprenticeships and find internships.

Barrie said her connection to the Nia centre “goes way back,” after she graduated from the University of Guelph-Humber, the then-executive director helped her learn to develop her career. She said she didn’t just receive help, but also honest evaluations of her work, “critiquing it when I needed feedback,” she said.

“It was very valuable to me … it helped me develop into the professional that I am today, the entrepreneur I am today. I see the difference it makes in young people, especially in our communities.”

She later went on to found her own company, Premium Events, and also began working with four youths at Nia — the youngest about 17 — on a daily basis for eight weeks. “The group was small,” she said, and the help “very specific to their needs.”

In Peel, Marlon Pompey said he at first mentored a different groups of youth for Big Brothers/Big Sisters of Peel, but a year ago began one-on-one, feeling he could have a bigger impact that way.

His “little,” who is 12, lives in his old neighbourhood, said Pompey.

“I came from that neighbourhood, I made something of myself … I got a scholarship,” said Pompey, who played basketball at university. “ … I wanted to give back.”

The two go carting, play paintball, golf and have plans to go mountain biking, added Pompey, who works in Peel Region.

“He’s a really good kid.”

RankTribe™ Black Business Directory News – Arts & Entertainment

Sunday Book Review: Poetry: Claudia Rankine on the Legacy of Gwendolyn Brooks


Gwendolyn Brooks in her home in Chicago. Credit Associated Press

New Poems Honoring Gwendolyn Brooks
Edited by Peter Kahn, Ravi Shankar and Patricia Smith
278 pp. The University of Arkansas Press. Paper, $29.95.

Work Celebrating the Writing of Gwendolyn Brooks
Edited by Quraysh Ali Lansana and Sandra Jackson-Opoku
Illustrated. 416 pp. Curbside Splendor Publishing. Paper, $24.95.

Gwendolyn Elizabeth Brooks was born in Topeka, Kan., at 1 p.m. on Thursday, June 7, 1917.

But her family moved to Chicago shortly after her birth, and she was a Chicagoan until her death, in 2000. The author of more than 20 volumes of poetry, Brooks holds the distinction of being the first African-American to win a Pulitzer Prize (in 1950, for her second book of poems, “Annie Allen”), and she received numerous accolades, including the National Medal of Arts and an American Academy of Arts and Letters Award. In honor of the centennial year of her birth, two anthologies have arrived: “Revise the Psalm,” edited by Quraysh Ali Lansana and Sandra Jackson-Opoku; and “The Golden Shovel Anthology,” edited by Peter Kahn, Ravi Shankar and Patricia Smith.

In their shared mission, these books complement each other without too much overlap. The novelist Richard Wright, in a reader’s report for Harper & Brothers in the early 1940s, declared Brooks essential: “America needs a voice like hers.” Confirming Wright’s claim are the hundreds of artists represented in these two new anthologies, poets who have used her work as a prompt or a point of engagement.


“The Golden Shovel Anthology” structures itself around the form developed by the prodigious poet Terrance Hayes, whose own poem “The Golden Shovel” opens the book. A Golden Shovel poem sneaks an existing poem into the end words of each line. That way, the new poem always remains in conversation with its precursor. In his introduction, Shankar writes that the anthology is “an inherently collaborative effort, a dialogue, a response,” and the same description works for Hayes’s form, which unites all of the poems here. Read their end words, and you’ll find a Brooks poem. In the foreword, Hayes says he came up with the idea when he was helping his 5-year-old son memorize Brooks’s “We Real Cool,” which starts with a sort of subtitle or epigraph: “The Pool Players. / Seven at the Golden Shovel.” The words of Brooks’s poem moved into Hayes’s head space and became a lyric to push against or engage:

When I am so small Da’s sock covers my arm, we
cruise at twilight until we find the place the real

men lean, bloodshot and translucent with cool.
His smile is a gold-plated incantation as we

drift by women on bar stools, with nothing left
in them but approachlessness. This is a school

I do not know yet. But the cue sticks mean we
are rubbed by light, smooth as wood, the lurk

of smoke thinned to song. We won’t be out late.
Standing in the middle of the street last night we

watched the moonlit lawns and a neighbor strike
his son in the face. A shadow knocked straight

Da promised to leave me everything: the shovel we
used to bury the dog, the words he loved to sing

his rusted pistol, his squeaky Bible, his sin.
The boy’s sneakers were light on the road. We

watched him run to us looking wounded and thin.
He’d been caught lying or drinking his father’s gin.

He’d been defending his ma, trying to be a man. We
stood in the road, and my father talked about jazz,

how sometimes a tune is born of outrage. By June
the boy would be locked upstate. That night we

got down on our knees in my room. If I should die
before I wake. Da said to me, it will be too soon.

Nestled into the last word of each line is Brooks’s canonical poem: “We real cool. We/ Left school. …” Throughout this anthology, more than 60 other well-known Brooks poems can be read the same way, with lines from “The Mother” and “The Bean Eaters” tripping down the right-hand side of the page. The anthology ends with “Non-Brooks Golden Shovels” and “Variations and Expansions on the Form.” The cross-section of poets with varying poetics and styles gathered here is only one of the many admirable achievements of this volume.


“Revise the Psalm” brings a more expansive response to Brooks. The editors have included poetry, prose, photographs and paintings created in recognition of both Brooks and her work. Essays speak back to individual poems like “The Mother,” or reflect on Brooks’s impact or on personal encounters with her. We get a keen sense of the poet and her fierce commitment to community engagement. For example, Adrian Matejka writes about attending a reading where Brooks spent more time reading poems by elementary school children than reading her own work.

The portraits represent Brooks at different points in her 83 years. Most notable is the author’s photo by Roy Lewis, for her 1969 book “Riot,” with Brooks wearing the Afro that signified her break with her mainstream publisher as she joined the voices of the Black Arts Movement. Lansana and Jackson-Opoku, the editors of “Revise the Psalm,” use the phrase “‘Gwendolynian’ influences,” describing their anthology as “a project of literary and artistic revision, the process of ‘talking back’ to works that inspire, teach, challenge and engage.” Not surprisingly, given this endeavor, the book includes some Golden Shovel poems.

More often than not, however, the poems in “Revise the Psalm” are more loosely inspired by Brooks’s subjects. Consider “Daystar,” by Rita Dove. (She is one of a handful of poets who appear in both volumes.) Though written for Dove’s Pulitzer Prize-winning book “Thomas and Beulah,” “Daystar” takes on a subject that was of central importance to Brooks — the quotidian outer life and the rich inner life of African-American mothers:

She wanted a little room for thinking:
ut she saw diapers steaming on the line,
a doll slumped behind the door.
So she lugged a chair behind the garage
to sit out the children’s naps.

Sometimes there were things to watch:
the pinched armor of a vanished cricket,
a floating maple leaf. Other days
she stared until she was assured
when she closed her eyes
she’d see only her vivid own blood.

She had an hour, at best, before Liza appeared
pouting from the top of the stairs.
And just what was mother doing
out back with the field mice? Why,
building a palace. Later
that night when Thomas rolled over and
lurched into her, she would open her eyes
and think of the place that was hers
for an hour — where
she was nothing,
pure nothing, in the middle of the day.

Whether one considers the breadth of writing inspired by Gwendolyn Brooks or drops down into the possibilities of the Golden Shovel form, Richard Wright was not wrong about her importance: She has served her readers across a century.

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5 Review An artist who summons black faces and bodies at ease in the world

Lynette Yiadom-Boakye. “Vigil For a Horseman,” 2017. (Lynette Yiadom-Boakye/Corvi-Mora and Jack Shainman Gallery)

One can’t call Lynette Yiadom-Boakye’s paintings of people portraits, because the young men and women in these images don’t actually exist. They are composite figures, worked up from her imagination and from files of images — photographs, clippings, drawings — that she has gathered. They are, perhaps, invented characters, but she doesn’t tell us of what kind, what motivates them or what they are about. The titles of her paintings are poetic and suggestive — “Ropes for a Clairvoyant” and “Of All the Seasons,” for example — but they bear no identifying traces, no clues to the people she has summoned. Stand in a room full of her work, and you have the sense that you have been dropped into the middle of something, in media res. It isn’t like being in the middle of a crowd, teeming with energy — rather, you feel yourself surrounded by a collection of quietly thoughtful and thoroughly self-contained individuals who are taking a moment from the stream of life to do nothing at all.

The work of Yiadom-Boakye, a London-based artist born in 1977 and a finalist for the prestigious Turner Prize in 2013, is on view at the New Museum, filling the midsize fourth-floor gallery, which has been painted a deep burgundy. The rich color of the background walls contrasts sharply with the standard institutional white favored by most contemporary art galleries, and it flatters the generally earthy tones and deep shadows of the artist’s oil-on-linen medium. The lights are also kept lower than is often the case in contemporary galleries, and everything seems to have a warm glow. An effort has been made to banish the bustle of New York and allow visitors to exist in a space that is backward-looking, to indulge nostalgic fantasies of the hushed art museums of the 19th century, which were also richly painted and architecturally removed from the everyday world.

Installation view of the New Museum’s exhibit of works titled, “Lynette Yiadom-Boakye: Under-Song for a Cipher.” (Lynette Yiadom-Boakye/Maris Hutchinson/EPW Studio)

Yiadom-Boakye paints most of her works in one day, and this exhibition includes 17 new ones. Several of the figures appear to be dancers (one young woman is seen in a ballet pose wearing a white leotard), and all of them have a casual, lean, athletic grace. The speed with which she paints yields broad, almost sketchy brushwork, paint that is drawn quickly and proximately over the surface of the linen, with streaks and rough edges rather than fine lines and polish. The virtuosity of her work, as well as the physicality of her mostly young subjects, gives a sense that there is something precipitous about the people she has imagined, as though they are about to tip out of the picture space and into the room.

The artist, born in London to Ghanaian parents, focuses on subjects who are of African descent, and her work is often seen as part of a larger project of restitution, shared among other artists who are seemingly working outside the mostly white, Western tradition of figure painting, to people the world of art with new faces, new figures and new subjects who aren’t uniformly white and European. Western painters only occasionally painted non-Western faces and bodies over the past half-millennium, and often when they did, it was to underscore the supposed exoticism or otherness of African or Asian subjects. They were represented as servants, objects of sexual desire or emissaries of far-flung and deeply foreign worlds that only occasionally encroached on European lands, as in the depiction of Balthazar, one of the three Magi, who was often depicted as a Moor in Renaissance paintings.

“8am Cadiz,” 2017, oil on linen. (Lynette Yiadom-Boakye/Corvi-Mora and Jack Shainman Gallery)

But compare Yiadom-Boakye with another artist, Kehinde Wiley, who deliberately inserts black faces and bodies into some of the most mannered tropes of Western art, and it’s clear something very different is going on. Wiley’s highly finished images use not just the medium of painting but often the poses and trappings of European elites to create a satire on the exclusion and whiteness of the art world. He inserts a young African American into a heroic and imperial context borrowed from the Napoleonic-era works of Jacques-Louis David or renders the rapper Ice-T as Napoleon, and the resulting work is as bombastically colorful and richly finished as Yiadom-Boakye’s work is earthy and improvised. Wiley is creating an ironic indictment of exclusion, whereas Yiadom-Boakye is quietly and steadily remedying the problem. There is something endearingly pragmatic about her work and her method, as if to say: The way one deals with exclusion is to open the doors and let people in.

But the more you look at it, the more you realize this isn’t just a matter of increasing the sum total of people with dark skin represented in art galleries or museums. Bodies and faces aren’t sufficient to get at the idea of race or identity; one also needs poses, gestures and expressions, characteristic ways of standing and leaning and lounging, that have also been excluded from the way people of color have been represented in Western art.

Lynette Yiadom-Boakye, “In Lieu of Keen Virtue,” 2017. (Lynette Yiadom-Boakye/Corvi-Mora and Jack Shainman Gallery)

“The Matters,” 2016. (Lynette Yiadom-Boakye/Corvi-Mora and Jack Shainman Gallery)

So at least as important as the skin color of these imagined people is the fact that they are so profoundly, even extravagantly, at ease. Perhaps more important than the simple fact that people of color are represented in a traditionally white or European space is that they are entirely comfortable being there.

One might do this with snapshots of people at ease, reproduced, framed and introduced into the art space. Photographic representation captures ease and grace and the lounging frame of mind, but it also introduces real people into the equation and so sends the mind down different paths. Who are they? What do they do?

By painting people who don’t, in fact, have real existence, Yiadom-Boakye keeps the focus on their physicality and on the paint and the process whereby they have been created. Sometimes, these things intersect in delightful ways. “In Lieu of Keen Virtue,” for example, shows a man casually dressed in an orange turtleneck while a cat lounges on his left shoulder. But the left arm isn’t quite right and doesn’t seem to meet his torso in a natural way. It’s tempting to think the cat may have been a painterly inspiration, to divert attention from the slightly awkward arm with the introduction of a draping feline. In summoning the man in a quick and provisional way, the painter has by necessity also summoned the cat, who does indeed help fix the problem.

The kitty isn’t the only interloper in these works. Sometimes birds appear, as well, and often, there is a dark, assertive shadow cast by the human figures, a shadow that takes on more personality and presence than a mere play of light. In creating a character, or painting an imaginary being, the artist may well ask a question we often ask ourselves: What completes us? What makes us whole? When are we ever pulled together as a being? Almost certainly, we experience this coming together as a real being in moments of reflection, inwardness and ease and not when we do our best (as in a grand oil painting) to project a sense of ourselves to the outside world. But does it ever happen? Only the shadow knows.

Lynette Yiadom-Boakye: Under-Song for a Cipher is on view at the New Museum in New York through Sept. 3. For information, visit

RankTribe™ Black Business Directory News – Arts & Entertainment

Louisville and Nashville Railroad

Founded in 1850, the Louisville and Nashville Railroad provided rail travel for both freight and passengers.  L & N, as it was commonly referred to, grew to serve 13 states in the Midwest and South. The Henderson Union Station Depot, a one-story stone station, was built in 1901 on the L & N Line to St. Louis. This photo shows several passengers waiting on the stone porch at the station.

With passenger service at the station coming to an end in 1971 and switch-and-signal service ending in 1978, the station was first to be condemned in 1979 and a wrecking crew was hired for its demolition. A successful “Save the Depot” campaign resulted in the depot being listed on the National Register of Historic Places in 1980.

In 2015, the city of Henderson requested bids to either raze or restore the station. Restorations are underway and expected to be completed next year.

History Lesson is a pictorial history of Evansville compiled by Daniel Smith, local history and digitization librarian at the Evansville Vanderburgh Public Library.

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Memo to Hollywood: Stop wasting Idris Elba’s talent

OPINION: As the troubled, long-awaited adaptation of Stephen King’s The Dark Tower rolls out to dismal reviews this week, I’ve had to resist banging my head against the wall in frustration, and not because I’m a King aficionado grappling with shattering disappointment.

Rather, The Dark Tower is the latest frustrating example of how nothing ever seems to go quite right in the career of Idris Elba – and what a loss that is for the rest of us.

Although Elba had been acting steadily for eight years before the premiere of The Wire, most American audiences know him best from his performance as charismatic, sophisticated and ultimately doomed drug dealer Stringer Bell, the nemesis of Baltimore Detective Jimmy McNulty (Dominic West).

The Dark Tower is just the latest Hollywood film to waste the talents of Idris Elba.

The Dark Tower is just the latest Hollywood film to waste the talents of Idris Elba.

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Stringer Bell was one of those exceptionally rare roles that give an actor a chance to demonstrate that they can do many things very well.

As Stringer, Elba could be intimidating when up against a rival, dryly funny when messing with McNulty, pedantic in his dealings with underlings, seductive in an old-fashioned way that we rarely see on screen anymore, and full of pathos when Stringer’s dreams of going legitimate bumped up against the limits of his knowledge, experience and education.

The Wire should have set Elba up to do anything: to be an older Black Panther in a Marvel adaptation; to revitalize the old-school movie romance in an era where Fifty Shades of Grey was bringing more adult sexuality back to the multiplex; to star in a range of historical biopics at a moment when directors such as Ava DuVernay were turning their history to black America’s past.

But somehow, the next great role, the one that should have made Elba a genuine movie star, or that should have put him squarely at the centre of his own outstanding television show, never quite arrived. And even when parts did materialize, they didn’t quite resonate the way they could have.

After The Wire, Elba took guest roles on series such as The Office and The Big C. As many black actors in Hollywood do, he ended up in a number of sentimental movies aimed largely at African-American audiences, among them the melodramas Daddy’s Little Girls and The Gospel. He and Beyoncé co-starred in a stalker drama, Obsessed.

Idris Elba is a charismatic actor beloved by many TV watchers and moviegoers.

John Phillips

Idris Elba is a charismatic actor beloved by many TV watchers and moviegoers.

And over and over, Elba was cast as supporting characters in genre blockbusters: as Heimdall, the blind guardian of Asgard’s Rainbow Bridge in Marvel’s Thor movies; as a priest in the second Ghost Rider movie; as Janek in the Alien prequel Prometheus; as a Starfleet captain who lost his sense of mission in Star Trek Beyond; and as the colourfully named Stacker Pentecost, the head of a giant-robot fighting crew in Pacific Rim

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Even as movies like these helped raise the profile of actors like Chris Hemsworth, who plays Thor, and Chris Pine, who anchors the Star Trek franchise, these roles seemed to hem Elba in rather than help him reach the next level.

This is not to say that Elba hasn’t done outstanding work in the years since Stringer Bell died at the hands of Omar Little (Michael K. Williams) and Brother Mouzone (Michael Potts) in the third season of The Wire.

He was wonderful as Nelson Mandela in Mandela: Long Walk to Freedom, capturing both Mandela’s militancy and his hard-won patience. But that movie (which also featured a marvellous performance by Naomie Harris as Mandela’s wife, Winnie) came out the same year as Steve McQueen’s 12 Years a Slave

In an industry that often seems incapable of recognising more than a few black artists at a time, Mandela: Long Walk to Freedom was largely shut out of year-end awards after a modest performance at the box office.

Elba did similarly strong work in Beasts of No Nation, as the Commandant who manipulates and deploys child soldiers. That film, though, was distributed through Netflix, which bets on daring content, but doesn’t yet seem to have figured out how to make its glut of original movies and television shows capture the cultural conversation.

Idris Elba played the dastardly Commandant in Netflix's Beasts of No Nation.

Idris Elba played the dastardly Commandant in Netflix’s Beasts of No Nation.

Arguably some of Elba’s best and most popular work – and the roles that have let him do comedy as well as drama – come in animated films where his face is off-screen, but his rumbly baritone makes an unforgettable impression. Three of those roles came in 2016 alone, when he played an exasperated water buffalo police chief in Zootopia, Disney’s wildly successful allegory about racial profiling and law enforcement; the menacing tiger Shere Khan in the gorgeous live-action remake of The Jungle Book; and Fluke, one of two jocular, slightly bullying sea lions in Finding Dory, a role that reunited him with The Wire co-star West, who also played a blubbery blabbermouth. It’s as if Hollywood can only figure out what to do with Elba when it separates his lively, versatile voice from his body.

That’s an awful shame, and it speaks more to the entertainment industry’s failures of imagination than to anything lacking in Elba’s talent. And while I’m sure this frustrates Elba and his agents, this state of affairs is a loss for everyone.

The space between what Idris Elba is capable of doing and what Hollywood has been willing to give him to do is a measurement of the industry’s creative failure and timidity.

Idris Elba captured Nelson Mandela's strength and dignity on his Long Walk To Freedom

Idris Elba captured Nelson Mandela’s strength and dignity on his Long Walk To Freedom

And for those of us who love to watch Elba work and hate to see him wasted, the weight of performances that could have been but never will be is crushing.

 – Washington Post

RankTribe™ Black Business Directory News – Arts & Entertainment

Tate Modern celebrates work of black artists from civil rights movement

You hear the exhibition before you see it – the booming voice of Dr Martin Luther King resonating through the Tate Modern galleries.

King’s rousing words in Washington in 1963 inspired the black communities of America to protest, march and sing for their rights. Now for the first time, the show at the Tate Modern shows how they also drove an entire generation of artists – long ignored by history – to paint, sculpt, print and take photographs.

Curator Mark Godfrey said the show – Soul of a Nation – had been born from the Tate’s drive to collect more African-American art from the period. Godfrey added that they realised during the research that the artists took a very multifaceted approach to what it meant to be a black artist, who they should make their work for and how the omnipresence of the political struggle of the black community should be represented.

“The question ‘is there a black art’ runs through every room in this show and the answer is different every time, from one group of artists to another,” said Godfrey. “Even if you’re talking about overtly political work, you’ll get one type of work that was made in Chicago and another type of work that was made by Emory Douglas, who designed the Black Panther newspaper.

“They both may have been making images of the Black Panther leaders but Wadsworth Jarrell in Chicago wanted to make those extremely colourful and Douglas would use just two colours and a very different graphic style.”

Soul of a Nation examines what it meant to be black and an artist during the civil rights movement, from 1963 – when the idea of black power was emerging in America – through to 1983. With each room of the exhibition orientated around the different artistic movements and cities where they originated, from LA to Chicago to New York, the core principle tying the show together is that there was, and still is, no single vision of what constituted “black art” or a “black aesthetic”.

The majority of the work has not been displayed in the UK before and it is also the first time a painting dedicated to civil rights leader Malcom X, by Jack Whitten, has ever been exhibited after it was uncovered in the basement of his studio in Queens, New York, when the curators were researching the show.

A fragment of the Wall of Respect, a revolutionary civil rights mural in South Side, Chicago painted in 1967 and mostly destroyed by a fire in 1971, is also on display – its first time being shown in the UK.

Jae Jarrell with her Revolutionary Suit, remade in 2010.

Jae Jarrell with her Revolutionary Suit, remade in 2010. Photograph: Guy Bell/Rex/Shutterstock

Godfrey said that even though many of the works had since entered major American museum collections, there was a notable disparity between how black and white artists were treated.

“At the time, the museums were more likely to collect the abstract art than they were to collect the political and figurative art,” he said. “Or major American museums would buy one work by an artist and that would be it, they wouldn’t follow their career in the same way they would follow the career of a number of white artists. Or they would buy a work but not display it, and it would go into their storage.”

Two of the founding members of the AfriCOBRA collective formed in Chicago in the late 1960s, married couple Wadsworth Jurrell, 87, and Jae Jurrell, 81, said it was extremely moving to walk through the Tate show.

“It’s still so powerful,” said Jae. “Wadsworth and I always believed that the artists were the visionaries that gave beauty and guidance to communities at that time. All I can advise the world is ‘don’t sleep’ because we are still around and we have left a visual imprint. We outsmarted those who ignored us because we may be old but we are here.”

Her husband said that the show also highlighted how many of the battles that had driven the art during the civil rights movement were still being fought in today’s racially divided America.

“We’ve only had cosmetic changes, significant change hasn’t happened even with a black president,” Wadsworth said. “Those ethical racial issues we were talking forty, fifty years ago are still issues today, and they are still at the forefront. Institutional racism has not changed.”

RankTribe™ Black Business Directory News – Arts & Entertainment

2017 Arts & Entertainment Listings



“Complexions Contemporary Ballet” – Oct. 13
“Travis Wall’s SHAPING SOUND – After the Curtain” – Nov. 5
“Love on the Floor” – Nov. 10
“Stravinsky!” – Nov. 10-11
“Drosselmeyer’s Workshop” – Dec. 9-23
“The Brown-Forman Nutcracker” – Dec. 9-23
“The Beyond” – March 2-4
“Giselle” – April 13-14


“Stravinsky!” – Nov. 10-11
“The Brown-Forman Nutcracker” – Dec. 9-23
“The Beyond” – March 2-4
“Giselle” – April 13-14


“UofL Dance Theatre Night” – Sept. 2
“Clara’s Dream” – Dec. 1-3
“Spring Gala” – May 18-19



Concert at Bellarmine University – Oct. 1
Concert at Tim Faulkner Gallery – Nov. 12
Concert at The Piano Shop – Feb. 11
Concert at The Kentucky Center – May 20


Trifecta featuring The Rob Nickerson Quintet – Aug. 17


“Emerson String Quartet” – Oct. 8
“Morgenstern Trio” – Nov. 19
“Music From Copland House” – Feb. 11
“American Brass Quintet” – March 18
“Momenta Quartet” – April 22


“A Song for You: A Tribute to the Life & Music of Luther Vandross” – Aug. 6
“Taste of Frankfort Avenue” – Aug. 13


“The Van-Dells” Aug. 14
“A Tribute to John Denver” – Sept. 11
“How Great Thou Art” – Oct. 16
“Three Funny Guys” – Oct. 23
“The Return” – Nov. 6
“The Monarchs” – Jan. 5-6
“Doo Wop All Stars” – April 23
“The World Famous Glenn Miller Orchestra” – June 4
“Branson on the Road” – Aug. 13


Kentuckiana Idol – Aug. 5
Chase Rice – Aug. 12
St. Stephens Music Ministry – Aug. 20
Live! after five. 100% Poly – Sept. 1
Kip Moore – Sept. 8


“Sundays in Auer” – Sept. 10
“Chamber Orchestra” – Sept. 13
“Salon Latino Chamber Music Series” – Sept. 14
“Opera Insights” – Sept. 15-23
“Don Giovanni” –  Sept. 15-23
“PEN Trio” – Sept. 16
“Trio Morelia” – Sept. 17
“Concert and Symphonic Band” – Sept. 26
“Baroque Orchestra” – Sept. 27
“New Music Ensemble” – Sept. 28
“To The Pointe” Sept. 29-30
“Dances for Two” – Sept. 29-30
“Conductors Chorus” – Sept. 30
“Wolfgang Brendel, Baritone; Louis Lohraseb, Piano” – Sept. 30
“Carl Lenthe, Trombone; Otis Murphy, Saxophone” – Oct. 1
“Wind Ensemble” – Oct. 3
“Student Composition Recital” – Oct. 4
“Chamber Orchestra” – Oct. 11
“Opera Insights” – Oct. 13-21
“L’etoile” – Oct. 13-21
“Concentus” – Oct. 15
“Hot Tuesdays” Oct. 17, 24, 31, Nov. 7
“Student Composition Recital” – Oct. 24
“New Music Ensemble” – Oct. 26
“Baroque Orchestra” – Oct. 27
“Kathleen McLean, Bassoon” – Oct. 28
“Percussion Ensemble” – Nov. 5
“Wind Ensemble” – Nov. 7
“Chamber Music Recital” – Nov. 8
“Chamber Orchestra” – Nov. 8
“Latin American Ensemble” – Nov. 9
“Opera Insights” –  Nov. 10
“It’s a Wonderful Life” – Nov. 10-17
“Guitar Studio Chamber” – Nov. 10
“Conductors Chorus” – Nov. 11
“Opera Insights” – Nov. 11
“Voice Studio Recital” – Nov. 11
“Guitar Ensemble” – Nov. 11
“Concert and Symphonic Band” – Nov. 14
“Opera Insights” – Nov. 16-17
“Student Composition Recital” – Nov. 28
“All- Campus Jazz Ensemble & Jazz Combos” – Nov. 28
“Concentus” – Nov. 29
“The Nutcracker” – Dec. 1-3
“All-Campus Chorus” – Dec. 3
“Computer Music and Video Recital” – Dec. 3
“Baroque Orchestra” – Dec. 6
“Latin American Ensemble” – Dec. 6
“Salon Latino Chamber Music Series” – Jan. 25
“Student Composition Recital” –  Jan. 30
“New Music Ensemble” – Feb. 1
“Opera Insights” – Feb. 2-10
“Ariadne Auf Naxos” – Feb. 2-10
“Concert and Symphonic Band” – Feb. 6
“Conductors Chorus” – Feb. 10
“Saturdays in Auer” – Feb. 11
“Wind Ensemble” – Feb. 13
“Student Composition Recital” – Feb. 20
“Latin American Ensemble” – Feb. 22
“Opera Insights” – Feb. 23-March 3
“Lucia Di Lammermoor” – Feb. 23-March 3
“Concentus” – Feb. 25
“Hot Tuesdays: Jazz Combos” – Feb. 27, March 6, 20, 27
“Baroque Orchestra” – March 4
“New Music Ensemble” – March 8
“Chamber Music Recital” – March 21
“To The Pointe” – March 23-24
“America Dances” – March 23-24
“Sundays in Auer” – March 25
“Conductors Chorus” – March 27
“Wind Ensemble” – March 27
“Chamber Music Recital” – March 28
“Latin American Ensemble” – March 29
“Student Composition Recital” – March 29
“Concert and Symphonic Band” – April 3
“Student Composition Recital” – April 5
“Opera Insights” – April 6-14
“West Side Story” – April 6-14
“Guitar Studio Solo Recital” – April 6
“Concentus” – April 15
“Student Composition Recital’’ – April 16
“All Campus Jazz Ensemble and Jazz Combos” – April 17
“All-Campus Chorus” – April 18
“New Music Ensemble” – April 19
“Springfest” – April 19
“Computer Music and Video Recital” – April 22


“Billy Ray Cyrus with Special Guest Olivia Lane” – Aug. 4
“Lyle Lovett and His Large Band” – Aug. 6
“An Evening with Dave Rawlings Machine” – Aug. 16
“An Evening with Gerald Albright” – Aug. 26
“Rally for our Heroes” – Sept. 14
“Louisville Strassenfest” – Sept. 22
“Jazz at Lincoln Center Orchestra with Wynton Marsalis” – Sept. 26
“The Paul Thorn Band” – Sept. 29
“Zoso: The Ultimate Led Zeppelin Experience” – Oct. 6
“Lionel Hampton Tribute Concert” – Oct. 7
“The Simon and Garfunkel Story” – Oct. 8
“Simply Three” – Nov. 5
“Harry Potter and the Chamber of Secrets in Concert” – Nov. 17-18
“St. Vincent Fear The Future Tour” – Nov. 21
“Straight No Chaser” – Nov. 26
“Tommy Emmanuel CGP: Classics and Christmas Tour” – Nov. 30
“NeedToBreathe: All the Feels Tour” – Dec. 15
“Rain: A Tribute to the Beatles” – March 6


“Ariadne auf Naxos” – Sept. 15, 17
“Dead Man Walking” – Oct. 27, 29
“The Barber of Seville” – Feb. 16, 18


“Sharing Masterworks with Young Artists” – Oct. 22
“Candlelight Christmas at St Mary’s” – Dec. 2
“Christmas at Immaculate Conception” – Dec. 3
“Christmas at St. Brigid” – Dec. 10
“Musique Romantique” – Feb. 14
“Mozart Requiem” – April 15
“Chart Toppers III” – June 3
“Fanfare for the 4th” – July 4


Pops: “Sgt. Pepper at the Pops” – Sept. 16
“Yuja Wang Plays Rachmaninoff – Sept. 23
“Why Beethoven? – Oct. 13-14
Pops: The B-52S – Oct. 21
“The Greatest: Muhammad Ali” – Nov. 4
Pops: “Home for the Holidays” – Nov. 25
Handel’s “Messiah” – Nov. 30, Dec. 1-3
Holiday Concert – Dec. 7
“Tchaikovsky Violin Concerto” – Jan. 12-13
Pops: Mambo Kings – Jan. 20
“War + Peace” – Feb. 2-3
“The Planets: An HD Odyssey” – Feb. 23-24
Pops: Michael Cleveland and the Flamekeepers – March 20
Kentucky Classics: Festival of American Music 1 – March 24
Play – April 6-7
Pops: “The Music of Prince” – April 20
“Beethoven Piano Concerto” – April 27-28
“The Rite of Spring” – May 11-12


“The Rodney Marsalis Philadelphia Big Brass” – Sept. 15
“Louisville Orchestra: Mostly Mozart” – Sept. 30
“Mads Tolling and the Mads Men” – Oct. 19
“Martial Artists & Acrobats of Tianjin” – Oct. 30
“Louisville Orchestra: Scheherazade” – Nov. 11
“It’s a Wonderful Life” – Nov. 21
“An Evening with Richard Max” – Jan. 24
“Louisville Orchestra: Creation Mass” – Jan. 27
“Acoustic Eidolon” – Feb. 8
“The Birdland All-Stars” – Feb. 22
“Carrie Newcomer” – March 13
“Annie Sellick and the Hot Club of Nashville” – April 6
“Louisville Orchestra” – April 14
“Beausoleil avec Michael Doucet” – May 19


Guest Artists: Longleash Trio – Aug. 11
Guest Artist: Saya Sangidorij, piano, with Matthew Nelson, clarinet and Paul York, cello – Aug. 25
University Jazz Rhythm Workshop and Open Jam – Aug. 28
Django Jamboree – Sept. 7-9
University Wind Ensemble, University Chorus, Collegiate Chorale and Cardinal Singers – Sept. 10
Guest Artists: Aebersold Jazz Quartet – Sept. 11
Faculty Artist: Reese Land, trumpet – Sept. 12
Guitar Festival – Sept. 14
University Faculty Gala – Sept. 15
University Symphony Orchestra – Sept. 17
University Jazz Combos – Sept. 18
Faculty Artist: Brett Shuster, trombone – Sept. 18
Music eX Series: Brittany MacWilliams, violin, Paul York, cello and Lee Luvisi, piano – Sept. 24
Faculty Artist: Bruce Heim, horn – Sept. 24
University Faculty Jazz Ensemble – Sept. 25
Guest Artist: Yekwon Sunwoo, piano, Van Cliburn International Piano Competition Gold Medalist – Sept. 25
CMP Faculty Artist: Denine LeBlanc, piano – Oct. 1
University Jazz Combos – Oct. 2
University Jazz Ensemble I – Oct. 3
University Symphonic Band and Chamber Winds Louisville – Oct. 5
Chamber Music Society – Emerson String Quartet – Oct. 8
University Jazz Repertory Ensembles – Oct. 16
University Jazz Ensemble II – Oct. 19
University Sinfonietta – Oct. 20
University Chorus, Collegiate Chorale and Cardinal Singers – Oct. 22
University Jazz Rhythm Workshop and Open Jam – Oct. 23
University Community Band – Oct. 23
Guest Artists: Quintasonic Brass – Oct. 27
University Jazz Combos – Oct. 30
University Symphony Orchestra Halloween Spooktacular – Oct. 31
Guest Artist: Tamir Hendelman, jazz piano – Nov. 2
University Student Composers – Nov. 2
University Early Music Ensemble – Nov. 3
University Jazz Combos – Nov. 6
New Music Festival: Faculty Chamber Music – Nov. 6
New Music Festival: Electronic Music – Nov. 7
New Music Festival: University Symphony Orchestra – Nov. 8
New Music Festival: University Collegiate Chorale and Cardinal Singers – Nov. 9
New Music Festival: University Wind Ensemble and New Music Ensemble – Nov. 10
University Jazz Ensemble I – Nov. 14
University Student Composers – Nov. 15
University Jazz Ensemble II – Nov. 16
University Opera Theatre: Opera Scenes – Nov. 18
Chamber Music Society; Morgenstern Trio – Nov. 19
University Symphonic Band – Nov. 19
University Jazz Repertory Ensembles – Nov. 20
University Chorus – Nov. 20
University Cardinal Rule – Nov. 21
Faculty Artists: Gabe Evens Trio – Nov. 27
University Dance Theatre: Clara’s Dream – Dec. 1-3



“The Wedding Singer” – Aug. 4-13
“The Rocky Horror Halloween Party” – Oct. 21, 28
“Rock of Ages” – Jan. 26-Feb. 11
“[title of show]” – March 23-April 1
“Carrie the Musical” – May 11-20


“Angels in America, Part One Millennium Approaches” and “Angels in America, Part Two Perestroika” – Aug. 29-Oct. 15
Fifth Third Bank’s “Dracula” – Sept. 6-Nov. 2
Fifth Third Bank’s “A Christmas Carol” – Nov. 21-Dec. 23
“The Santaland Diaries” – Dec. 1-23
“Little Bunny Foo Foo” – Jan. 9-Feb. 4
“The Magic Play” – Jan. 23-Feb. 11
“Skeleton Crew” – Jan. 24-Feb. 11
42nd Humana Festival of New American Plays – Feb. 28-April 8


“Vampire Lesbians of Sodom” – Through Aug. 5
“Bloody Bloody Andrew Jackson” – Aug. 10-26
“Coyote Ugly” – Sept. 7-23
“The Mystery of Edwin Drood” – Oct. 5-28
“PVT Wars” – Nov. 9-25
“Who Killed Santa?” – Dec. 7-23


“Bethany” – Through Aug. 5


“Finding Neverland” – Oct. 24-29
“How the Grinch Stole Christmas!” – Nov. 28-Dec. 3
“Chicago” Jan. 23-28
“Rent” – Feb. 16-17
“School of Rock” – March 13-18
“Les Miserables” – April 10-15
“Waitress” – June 26-July 1


“Tuesday’s with Morrie” – Oct. 6-22
“St. Nickaklaus and the Hanukkah Christmas” – Dec. 1-17
“Red” – Feb. 16-March 4
“Boatwright” – April 13-29
“Master Harold and the Boys” – June 8-24


Trifecta featuring comedy of Andy Fleming and Friends – Aug. 17


“Smokey Joe’s Cafe” – Sept. 7-17
“Jekyll & Hyde” – Oct. 19 – Nov. 5
“Driving Miss Daisy” – Jan. 11-21
Andre Lippa’s “The Wild Party” – Feb. 15-March 3
Disney’s “The Little Mermaid” – April 12-29
“Tevye & His Daughters” – Public shows Sept. 24; Oct. 4, 8; Touring Sept. 5-March 25
“Hershel and the Hanukkah Goblins” – Public shows Dec. 3, 10, 17; Touring Nov. 6-Dec. 22
“Knuffle Bunny – A Cautionary Musical” – Public shows Feb. 18, 25, March 4; Touring Feb. 5-May 25
“James and the Giant Peach” – March 15-19
“Bugz” – March 15-18


“Annie” – Sept. 8-17
“The Game’s Afoot” – Nov. 10-19
“Children of a Lesser God” – Jan. 12-21
“Don’t Drink the Water” – March 9-18
“Godspell” – May 11-20


“A Wrinkle In Time” – Sept. 21-30
“The Crucible” – Oct. 12-21
“Welcome to Wandaland” – Nov. 9-18
“The Comedy of Oedipus” – Nov. 30-Dec. 9
“The Trojan Women” – Jan. 25-Feb. 3
Young Playwrights Festival 2017 – Feb. 14-17
“Circe and Ulysses” – March 1-10
Young American Shakespeare Festival 2017: “The Merry Wives of Windsor” – May 10-20
Young American Shakespeare Festival 2017: “Richard lll” – May 10-20
Young American Shakespeare Festival 2017: “Measure for Measure” – May 10-20


“Damaged Goods Presents” – Aug. 25
“Damaged Goods Presents” – Sept. 16
“Damaged Goods Presents” – Oct. 21
“Damaged Goods Presents” – Nov. 18
“Dam Good Holiday Show” – Dec. 16


“The Music Man” – Through Aug. 20
“Southern Fried Nuptials” – Aug. 23-Oct. 1
“A Murder Is Announced” – Oct. 4-Nov. 12
“A Christmas Carol – The Musical” – Nov. 15-Dec. 31
“Funny Money” – Jan. 10-Feb. 18
“Mamma Mia!” – Feb. 21-April 8
“Oklahoma!” – April 11-May 27


“Bonnie and Clyde” – Aug. 25- Sept. 3
“Newsies” – Nov. 3-Nov. 12
“The Hunchback of Notre Dame” – Feb. 9-Feb. 18
“ACT Festival” – March 16-18
“Rabbit Hole” – May 4-6


“Dr. Insecta” – Sept. 6-8
“The Rodney Marsalis Philadelphia Big Brass” – Sept. 15
“Stage One: Miss Nelson is Missing” – Sept. 25-28
“Louisville Orchestra” – Sept. 30
“Mads Tolling and the Mads Men” – Oct. 19
“Pirate School: The Science of Pirates” – Oct. 25-26
“Martial Artists and Acrobats of Tianjin” – Oct. 30
“Janet’s Planet” – Nov. 15-16
“It’s a Wonderful Life” – Nov. 21
“Dr. Kaboom! Live Wire! The Electricity Tour” – Jan. 8-10
“IU Southeast Theatre: Steam” – April 11-14


“Urinetown” – Sept. 22-30
“Three Sisters” – Oct. 13-21
“Peter and the Starcatcher” – Oct. 27-Nov. 4
“Arturo UI” – Dec. 1-9
“Julius Caesar” – Jan. 19-27
“Machinal” – Feb. 23-March 3
“At First Sight” – March 30-April 7
“City of Angels” – April 13-21


“StageOne StoryTellers” – Aug. 5-March 10
“The Platypus” – Aug. 10-19
“Miss Nelson is Missing!” – Sept. 9-23
“Finding Neverland” – Oct. 24-29
“Dr. Suess’ How the Grinch Stole Christmas! The Musical” – Nov. 28-Dec. 3
“The Best Christmas Pageant Ever” – Dec. 2-16
“Hamlet” – Jan. 26-Feb. 3
“American Tales – John Henry, Pecos Bill, and Brer Rabit” – March 24-April 14


Kentucky Shakespeare Festival – Through Aug. 13


“Hir” – Aug. 31-Sept. 10
“Clybourne Park” – Oct. 26-Nov. 5
“Sex with Strangers” – March 25-April 8
“The Fastest Clock In The Universe” – May 24-June 3


“The Ladies Man” – Sept. 15-24
“Vanya and Sonia and Masha and Spike” – Nov. 3-12
“Honey Harvest” – Jan. 12-20
“Lost in Yonkers” – March 9-18
“Bloody Murder” – May 11-20
“Blithe Spirit” – July 20-29


“Sordid Lives” – Sept. 14-24
“Falsettos” – Nov. 9-19
“Harbor” – Jan. 11-21
“Victor/Victoria” – March 15-25
“Die! Mommie Die!” – May 10-20


“Finding Neverland” – Oct. 24-29
“Dr. Seuss’ How the Grinch Stole Christmas! The Musical” – Nov. 28-Dec. 3
“Chicago” – Jan. 23-28
“School of Rock – The Musical” – March 13-18
“Waitress” – June 26-July 1
“Rent” (Season Option) – Feb. 16-17
“Les Misérables” (Season Option) – April 10-15


“Shrek the Musical Jr.” – Sept. 14-24
“A Christmas Carol Musical” – Nov. 30-10
“Arsenic and Old Lace” – Feb. 23- March 4
“Fools” – May 11-20
“Upstairs at 801” – Oct. 13-22
“Musical Variety Show” – Nov. 18
“Cabin Fever: A True Storytelling Event” – Feb. 3
“Love, Loss, and What I Wrote” – April 13-22
“Radio’s Golden Days: Sorry, Wrong Number and the Hitch-hiker” – June 1-10


“Miss Nelson is Missing!” – Sept. 9, 16, 23
“The Best Christmas Pageant Ever” – Dec. 2, 9, 16


“The Fairytale Lives of Russian Girls” – Oct. 13-22
“Nobody Bunny and the Golden Age of Television” – December-January
“How Water Behaves” – April 6-15


“Miss Ida B. Wells” – Sept. 22- Oct. 1
“Our Country’s Good” – Nov. 10-19
“Eurydice” – Jan. 26-Feb. 4
“Fabulation: or the Re-Education of Undyne” – Feb. 23-March 4
“Long Christmas Ride Home” – April 13-22


“Murder by the Quarry: The Case of the Murderous Masterpice” – Sept. 16-0ct. 28
“Oh! Deadly Night!” – Nov. 18-Dec. 23
“Murder Out of Time” – Feb. 17-March 31
“Murder at Lenny’s Speakeasy” – May 12-June 23



“Meet Your Neighbors: Feminine & LGBTQ+ Perspectives” – Aug. 5-Sept. 15
“Witnessing Neighborhoods In Flux” (Louisville Photo Biennial) – Sept. 22-Dec. 22


“Fallen Fruit: The Practices of Everyday Life” – Ongoing
“Pop Stars! Popular Culture and Contemporary Art” (Louisville Photo Biennial) – Through March 31
“Adi Nes, The Village” (Louisville Photo Biennial) – Sept. 22-Dec. 31
“Object(s) of Desire” (Louisville Photo Biennial) – Sept. 22-Dec. 31


“The Future is Now” – Through Aug. 4
Ron Schildknecht – Aug. 21-Sept. 2
Brian Ulrich (Louisville Photo Biennial) – Oct. 12-Nov. 17
Meg Hartwig – Nov. 30-Jan. 18
Rene Trevino – Feb. 1-March 9
Christopher Ottinger – March 22-April 20
Senior Thesis Exhibition – March 10-June 15


Louisville Clay Members Show – Sept. 15-Oct. 10
Annual Holiday Pottery Sale – Nov. 20-Dec. 10
“Suzanne Adams: A Retrospective” – Feb. 10-March 30
AA Clay Members Show – April 7-May 19


Kentucky Watercolor Society: Aqueous 2017 – Nov. 14-Dec. 23
24th Annual African American Art Exhibition – Jan. 9-Feb. 22


“Oldham County: A Perspective in Black & White” (Louisville Photo Biennial) – Oct. 12-Nov. 12


“Urban Abstraction” by Jonas Wilson (Louisville Photo Biennial) – Sept. 1-24
“Terms of Isolation” by Joe Mays (Louisville Photo Biennial) – Oct. 6-29
Carrie Neumeyer – Nov. 3-26
Art Sanctuary Group Tenent Show – Dec. 1-31
“Change is Constant” by Kimmi Monroe – Jan. 5-28
Kentucky Foundation for Women Trio Show – Feb. 2-25
Rita Cameron – March 2-April 1
“An Ostentatious Display Of Thaumaturgy” by Shahn Rigsby – April 6-29
“Visions of Paris” by Sanny Garrett – May 4-27
“Safe Spaces” by Jada Dixon – June 1-24
Derek Hoffend – July 6-29


“Beyond Borders” – Aug. 19-Sept. 16
“Photo Mix” (Louisville Photo Biennial) – Sept. 22-Nov. 11
Winter Wonderland – Nov. 18-January


“David” (Louisville Photo Biennial) – Sept. 29-Oct. 20


“Colorful Journey, Paintings by Yasharel Manzy” – Aug. 19-Sept. 13
Kit Keung Kan, Clarissa Shanahan, Robert James Foose – Sept. 16-Oct. 11
Carolyn Hisel – Oct. 14-Nov. 7
Martin Rollins – Nov. 11-Dec. 12
Madison Cawein – March


“Mapping Loss” by Jennifer Palmer – Aug. 23-Sept. 22
“Hook, Line and Singer” by Miri Phelps – Oct. 4-29
“I’ve Always Wanted to be an Artist but Ended up as a Graphic Designer Instead” by Kok Cheow Yeoh – Nov. 8-Dec. 3
Annual Student Juried Exhibition – Jan. 22-Feb. 18
BFA Thesis Exhibition 1 – March 1-13
BFA Thesis Exhibition 2 – March 22-April 10
BFA Thesis Exhibition 3 – April 19-May 1


“Connect” at Bernheim – Aug. 19


Beargrass Creek photographs by John Nation – Through Aug. 30


“People & Their Passions” by Kimberly Carroll Raber (Louisville Photo Biennial) – Sept. 29-Oct. 20


Trifecta featuring artist Ewa Perz – Aug. 17


“Form, Not Function: Quilt Art at the Carnegie” – Through Sept. 16
Laura Hartford (Louisville Photo Biennial) – Sept. 29-Nov. 25
“Capturing Contemporary Cuba: Street and Documentary Photography in Havana” by Ray Wallace (Louisville Photo Biennial) – Sept. 29-Nov. 25
“Jamey Aebersold: An Improvised Life” – Dec. 8-Feb. 3
Penny Sisto – Feb. 16-April 21
Floyd County Secondary Schools Art Show & Competition – April 28-May 12
“Form, Not Function: Quilt Art at the Carnegie” – May 25-July 21


“Art with a Dragons Heart” – Aug. 17-Sept. 21
“On the Road” by Bussert Photography (Louisville Photo Biennial) – Sept. 22-Nov. 11
“Rhythms and Flows” by Kristen Waring (Louisville Photo Biennial) – Sept. 22-Nov. 11
“Local Talent on Parade” – Nov. 15-Jan. 31


Children’s 4-H Photography (Louisville Photo Biennial) – Oct. 14-Nov. 22


“Birds of a Feather” – Through August
“How to Make a Monster” by Ryan Case – September
Tim Hooper – October
“Architecture in Fiber” by Vickie Wheatley – November
“Come Home” by Angie Reed Garner – December-January
“Exquisite Banalities” by Josh Johnson – February
NoNaMe Fibers Group Show – March
“Louisville Photographs” by Maria Marchal – April
“Fleur de Lis” by Pat Cooke – May
TBA – June
“She Sells Sea Shells” by Neisja Yenawine – July


“Portrait of an Artist at 75: David Crosby” by Jeffery Parrish (Louisville Photo Biennial) – Sept. 22-Nov. 11


“Re-Animations” by Harlan Strummer Welch-Scarboro – Aug. 4-31
“Italia Con Amore” by Dobree Adams (Louisville Photo Biennial) – Sept. 22-Oct. 27


“New Recruits” – Through Sept. 9
“Overshadowed: 2017 Eclipse Show” (Louisville Photo Biennial) – Sept. 22-Oct. 28
Open Studio Weekend Juried Exhibition – Nov. 3-25
“Artist Exchange” – Dec. 1-Jan. 13
Jim Grubola – Jan. 19-Feb. 24
Scott Massey – March 2-April 7
MFA Thesis: Douglas Miller – April 27-Aug. 11


Holiday Open House – November
Black History Month Display – February
Annual Derby Art Gala – May 4



“Black & White Silver Prints by DiGiovanni” (Louisville Photo Biennial) – Oct. 1-31


“Testament” by Jennifer B Thoreson – Through Sept. 16
“The Garden Variety” Photo Contest (Louisville Photo Biennial) – Sept. 22-Nov. 10
TBA – Nov. 17-Jan. 6
“On Street Photography” Juried Exhibition of Street Photography – Jan. 12-Feb. 24
“The Deconstructed Self” by Natalie Christensen – March 2-May 26
Steve Squall – June 1-Aug. 25


“Catching Fire: Themes from the Hunger Games” – Through Aug. 26
Ann Klem Glass – Sept. 1-Nov. 11
“All That Jazz” – Nov. 13-Jan. 6
“Spectrum” – Feb. 2-March 31


Adam Brown (Louisville Photo Biennial) – Sept. 22-Nov. 11


“The Lewis and Clark Experience” — Through 2017
“The Hunger Games: The Exhibition” — Through Sept. 10
“Linda Bruckheimer’s Kentucky” (Louisville Photo Biennial) – Sept. 22-Nov. 11
“Hope and Healing: Celebrating 125 Years of Norton
Children’s Hospital” – Oct. 8-Feb. 4
“Nutcracker The Exhibition: 60 Years of Magic and Majesty” – Nov. 9-Jan. 7
“World War I” – Fall 2017
“Magnificent Mona Bismark” – March 15-July 29


Douglas Taylor and Bruce Campbell (Louisville Photo Biennial) – Sept. 17-Oct. 31


“Natsha Sud: Stitchings” – Aug. 5-Sept. 2
“Justin Comley – The Things I See In the Woods” – Sept. 2-30
Sabra Crockett – Sept. 30-Oct. 28
Linda Erzinger – Oct. 28-Nov. 25
“Bridget Case: Poetic Resistance” – Nov. 25-Dec. 23
Charlotte Pollock – Dec. 23-Jan. 28
Kevin Sullivan – Jan. 28-March 3
“Bella Liston: Other Voices” – March 3-April 7
Whitney Carpenter – April 7-May 5
Yoko Molotov – May 5-June 2
Tiffany Ackerman – June 2-30
J. Cobb – June 30-July 28


“Hey, Happy Way Back Down Home!” by Tim Crowder – Aug. 4-Sept. 29
“home sweet home” by Kevin Warth (Louisville Photo Biennial) – Oct. 6-27
“M-XXL” by Joyce Garner – Nov. 3-Dec. 29
“Ritual Collections” by Wendi Smith – Feb. 2-March 30


“Wounding the Earth, Wounding Ourselves, Healing the Earth, Healing Ourselves” (Louisville Photo Biennial) – Sept. 22-Nov. 11


“She’s Silver and Orange 3” – Aug. 20-Sept. 24
“Comics: Jay Leisten and Friends” – Oct. 1-29
“Form Follows Function – Jake Ford” – Nov. 5-Dec. 10
Letitia Quesenberry and Aaron Rosenblum – Jan. 14-Feb. 11
Skylar Smith and Lisa Simon – March 1-31
KyCAD Senior Thesis – April 22-May 20


“Transitions” by Gibbs Rounsavall – Through Aug. 4
“First Light” by Laurie Blayney – Sept. 1-Nov. 27


“On the Waterfront and Beyond” – Through Aug. 12
“Alla Prima” – Aug. 30-Nov. 11
“Brush Strokes” – Nov. 22-April 4
“Historic Town and Country” – April 18-June 30
“Seeing with the Artist’s Eyes” – July 18-Oct. 31


“Through the Lens” by Judy Rosati and Bee Buck (Louisville Photo Biennial) – Sept. 22-June 15


Deborah Brownstein (Louisville Photo Biennial) – Sept. 22-Nov. 11


“Image & Word” – Aug. 25-Oct. 7
“Artists in Our Midst” – Oct. 27-Dec. 30
“Abstract in Kentucky” – Jan. 26-March 3
Kentucky Women Artists – March 30-May 12
5th Nude Biennial – June 29-Aug. 4


“A Salute to Muhammad Ali” (Louisville Photo Biennial) – Through Dec. 29


“Man o’ War: The Legacy” (Louisville Photo Biennial) – Through Dec. 31
The D. Wayne Lukas Collection – Through Sept. 30
“Horsing Around With Art: A Student’s View of the Sport of Kings’” – Jan. 13-Feb. 25


“Kentucky Roots” – Through Sept. 22
New Photography by Sam English (Louisville Photo Biennial) – Sept. 22-Oct. 31
Holiday Group Show – November-February
Derby Group Show – March-May
Lynn Dunbar – June-July
David Schuster – August-September


“Sing Don’t Cry” – Through Sept. 10
“Victory Over the Sun: Poetics and Politics of Eclipse” – Aug. 19-Dec. 3
“Portraits/Positions” by Paul Mpagi Sepuya (Louisville Photo Biennial) – Sept. 22-Nov. 12
Nathan Hayden – Nov.18-Jan. 28
Kenyatta A.C. Hinkle – Dec. 16-April 8
Scholastic Gold Key – Feb. 2-25
Thaniel Ion Lee – March 2-May 27


Luci Mistratov – August
Kore Members New Work – September
Anil Vinayakan, Mike McCarthy, Karen Terhune and William Duffy – October
Barbara Ketchum and Marjorie Muller – November
Ann Klem and Mark Johnson – December
TBA – January
“Black Show, White Show” – February
Julie Joy – March
Joy Lait and Maria Napoli – April
Joan Staashelm and Elizabeth Naiditch – May
Jana John and Renee Rodriguiz – June
Louisville Artisans Guild, Ann Klem and Don Cartwright – July
Morgan Betsill and Anil Vinayakan – August


Communication Arts Student Show – Through Aug. 19
Bill Green: Design, Illustration, Photography – Aug. 21-Sept. 30
Colleen Merrill: 3D Fiber – Oct. 4-Nov. 10
Communication Arts Student Show – Nov. 15-Jan. 12
CATP Show – Jan. 15-Feb. 23
Tim Smith, Paintings – Feb. 26-March 29
Fine Art Student Show – April 2-20
Communication Arts Student Show – April 23-May 31


“Summertime” by Joshua Jenkins – Aug. 10-Oct. 31


“Journey to Myanmar” by JoAnn Staashelm – Sept. 22-Nov. 11


2017 Holiday Showcase – Nov. 4-5


“Altered Perceptions” by CJ Pressma, Jenny Zeller and Mitch Eckert – Through Jan. 12
“The French are Coming” – Aug. 24-Oct. 22


Studio 2000 Exhibit & Sale at Actors Theatre of Louisville – Aug. 3
Portland Art & Heritage Fair 4th Annual Juried Exhibit – Sept. 9
“Plein Air Paint Out” at Waterfront Botanical Gardens – Sept. 17
Open Studio Weekend – Nov. 10-11
“art(squared)” – April 13-14
LVA Academy/CFAC Exhibits – May-June
“The Future Is Now” at KyCAD – July


David McDonley – Sept. 2-30
“Orville Moss: A Gathering of Wood & Steel” – Oct. 7-28
“Holiday in the Woods” – Nov.4-Dec. 30
“Emerging Artists Under 30 Exhibition” – Jan. 6-27
“A Celebration of Women’s History Group Exhibition” – March 3-31


“Bella Liston: Other Voices” – Aug. 5-Sept. 2
“Yoko Molotov: Scratch Fights” – Sept. 2-30
“Kerri Horine: Hollowing” – Sept. 30-Oct. 28
Nathan Townsend – Oct. 28-Nov. 25
Sam Ludwig – Nov. 25-Dec. 23
Paige Hessel – Dec. 23-Jan. 28
“Kimmi Monroe: Small Offerings” – Jan. 28-March 3
Scott Hile – March 3-April 7
Bryan Zadd Jones – April 7-May 5
“Tony Dixon: The Devil and I, A Portrait Project” – May 5-June 2
“Linda Akers: Fresh Cut” – June 2-30
“Dick Starr: Culture Popper” – July


“Anything Goes: A Photography Exhibit Outdoors” (Louisville Photo Biennial) – Sept. 22-Nov. 11


“LandEscape” – Aug. 20-Sept. 16
“Sarah Martin: Expectations” (Louisville Photo Biennial) – Oct. 2-27
“Reformations: Celebration of 500th Anniversary of Martin Luther’s Thesis” by Adam Moser – Nov. 6-30


“Pinhole Photography” by Danny Drake (Louisville Photo Biennial) – Sept. 22-Nov. 11


“A Sense of Place” by Kathryn Keller – Aug. 4-31
“Confront” by Vinhay Keo (Louisville Photo Biennial) – Sept. 15-Oct. 15
“Gold of Africa” by Adam Shulman (Louisville Photo Biennial) – Oct. 20-Nov. 18
“Antiqui” – Nov. 24-Jan. 5
Gallery Artists Show – Jan. 12-Feb. 10
Mildred Jarett – March 9-April 7
Yvonne Petkus – April 13-May 18


“In the Shadows: Photography by Howard Bingham” (Louisville Photo Biennial) – Through Jan. 21
“Grandmother Power” – Aug. 19-Jan. 8
“Available Light: Photography by Bud Dorsey” (Louisville Photo Biennial) – Aug. 25-Jan. 2
“Shining a Light: Experiences of Refugee Women” – March 8-TBA
“America to Zanzibar: Muslim Cultures Near and Far” – May 25-Dec. 30


“Unearthed” by Rebecca Rose and Jennifer Greb (Louisville Photo Biennial) – Sept. 29-Nov. 1


Joel Toste – Through Aug. 16
Luanne Rimmel – Aug. 20-Sept. 19
Annika Klein (Louisville Photo Biennial) – Sept. 22-Nov. 11
Mazin Annual Art Exhibit – Nov. 15-Jan. 12


“That Much Further West” by Kirk Gittings, Philip V. Augustin and Jan Pietrzak (Louisville Photo Biennial) – Through Oct. 1
“Finding Heaven in a Holler” by Shelby Lee Adams (Louisville Photo Biennial) – Oct. 1-Dec. 31


“All In! Louisville and the Great War” – Through Sept. 29
“Drive” by Sarah Lyon (Louisville Photo Biennial) – Oct. 5-Dec. 22


“Pyro Squared” – Aug. 3-Sept. 16
“Experimenting with Light” by Keith Auerbach (Louisville Photo Biennial) – Sept. 7-Oct. 21
“…and After” by Bette Levy – Oct. 26-Dec. 9
Pyro’s Grand Opening at Butcher Block – Dec. 14-30
Beverly Glascock and Chip Norton – Jan. 4-Feb. 15
Bob Lockhart and Kayla Bishoff – Feb. 22-April 7
Claudia Hammer and Mary Dennis Kannapell – April 12-May 26
CJ Pressma – May 31-July 14
Susan Moffett and John McCarthy – July 17-Aug. 30


“Instant Gratification” by Adam Chuck – Aug. 18-Sept. 29
Vian Sora – Nov. 10-Jan. 5
Michael James Moran – March 9-April 20


Erik Orr, Revelry’s 7th Anniversary Show – Aug. 12-Sept. 6
Bob Lockhart – Sept. 9-Oct. 4
“It’s A Beautiful Life” (Louisville Photo Biennial) – Oct. 7-Nov. 1
Ewa Perz – Nov. 3-Dec. 29
Winter Wonderland Ornament Show – Dec. 1-Jan. 3
Ashley Stewart – Jan. 5-31
“Cuteopia” – Feb. 3-March 7
“KNLT” – March 10-April 4
TBA – April
Monica Stewart – May 11-June 6
Karl Otto – June 9-July 11


“Type Hike” – Aug. 18-Sept. 22
“Adhar/Sky/Ciel” (Louisville Photo Biennial) – Sept. 28-Nov. 3
BFA Thesis – Nov. 16-Dec. 5
Mark Priest – Feb. 1-March 2
BFA Thesis – March 22-April 20
CCS Student Show – April 26-July 3


“Every Path is Viable & Maps For Getting Lost” Jerry Ryan Brubaker (Louisville Photo Biennial) – Sept. 24-Oct. 22


“Southern Accent: Seeking the American South in Contemporary Art” – Through Oct. 14
“Southern Elegy” (Louisville Photo Biennial) – Through Oct. 14
“The Wonderland Museum” – Through Nov. 26
“Forever and Ever: Bruce Conner” – Nov. 11-March 4
“Thoroughly Modern: Women in 20th Century Art and Design” – Dec. 16-July 1
“Women Artists in the Age of Impressionism” – Feb. 17-May 13


Rosalee Rosenthal (Louisville Photo Biennial) – Sept. 22-Nov. 11


“Out of Frame” (Louisville Photo Biennial) – Oct. 6-Nov. 25


“Aluminature” by Jenny Zeller (Louisville Photo Biennial) – Sept. 27-Oct. 28


5th Annual Summer Group Show – Aug. 4-30
Whitney Olsen Installation – Sept. 1-Oct. 3
“Ten” by Margaret Archambault and Amy Wilmore Sculpture – Oct. 6-Nov. 2
Tim Faulkner New Paintings – Nov. 3-30
Deck the Walls 2017 – Dec. 1-30


“Botanica” by Julius Friedman – Sept. 22-Nov. 11


Sebastian Duverge – August
Barbara Tyson Mosley and Tomisha Lovely-Allen – September
“Silver” by Bruce Cook, Fred DiGiovanni and David Modica (Louisville Photo Biennial) – October
Karen Smith – November
Ardis Moonlight – December
Constanza Granados – January
Brenda Smith – February
Ashi Scott-Bey and Phyllis Wadlington – March
Joan Zehnder – April
William M. Duffy – May
Ada Asenjo – June
Calyn Hutt – July
Rita Cameron – August


PROJECT 18 – Through Aug. 19
PROJECT 19 – Sept. 1-Oct. 22
PROJECT 20 – Nov. 3-Dec. 30



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RankTribe™ Black Business Directory News – Arts & Entertainment

Lifestyle | How Life Will Imitate George (Wein)

Friday, August 04, 2017

George Wein

In 1947, a white Jewish boy from the south of Boston fell in love with a black girl.

Despite vehement opposition from their parents, the couple was married in 1959. At the time, George and Joyce Wein were among just a handful interracial couples in the country. Their union was daring, and easily threatened by the city of naysayers around them. But still, George and Joyce found a harmony in one another that was unrivaled, and they were inseparable for over 65 years. The story of their star-crossed romance may seem ordinary in today, since nearly 20% of modern U.S marriages are interracial. But in an age where fairy tale endings seldom existed for people like them, George and Joyce’s feat was extraordinary.

When George met Joyce, he was a budding jazz enthusiast. Again, hardly remarkable today, but extraordinary at a time when most kids were catching on to Rock & Roll or Mozart concertos. Jazz was dominated by black artists, but George’s fascination with music knew no racial boundaries. With gusto, he used to gather the kids in his largely white neighborhood, and create a full jazz band. While the nation was jamming to Elvis Presley, George had the youngsters in his neighborhood grooving to Jazz classics. As he writes in his autobiography, “Picture a carload of (black) jazz musicians in 1943 driving through our slumbering suburb after midnight and playing music there until the early morning hours. This sort of thing just didn’t happen in Newton, Massachusetts!”

For three-quarters of a century since those days, George has crossed boundaries to uncover young musicians, nourish unsung artists, and enrich the world with great music. His signature creations, The Newport Folk and Jazz Festivals, have launched the careers of countless great performers, regardless of their race, gender or creed. At the debut of the Newport Jazz Festival in 1954, two-thirds of the performers were black. And throughout the fifties and sixties, when musicians of color were struggling to get recognition, Newport welcomed them warmly. World-renowned artists like Louis Armstrong, Miles Davis, and Duke Ellington have all found great success there. What is as striking as the star-studded cast is what a great time the artists had together. And perhaps even more striking is how enthralled the largely white audience was with the performance on stage year after year. George had found a path to racial harmony well before the Civil Rights movement hit its stride.    

Race was not the only boundary George crossed with such ease. Women were equal beneficiaries of his unifying alchemy. In the 1960’s, women were very scarcely called to receive a golden gramophone at the Grammy’s. But George and Newport embraced and honored them. Ella Fitzgerald sang at the debut, and Sarah Vaughn was a regular. In the 1960 film about the 1958 Newport Jazz festival entitled “Jazz on a Summer’s Day,” one third of the performers depicted were women. Today, Female artists routinely sweep award shows and dominate Billboard charts these days. So, perhaps George was precociously setting trends. Or just maybe, reality has learned to adjust to his magical concoctions on stage.

This year, a few performers from exotic locations across the globe have been fortunate enough to get pulled into George’s unusual vortex. He has invited an eclectic troupe of musicians for an experimental performance at BridgeFest in Newport—to see if we can bring together our disparate cultures.  Our production, “A Bridge Together” will blend American Jazz and West African percussion with Indian classical music and dance.  As we watch this group of dozen artists rehearse, it is hard not to be amazed that several of them barely speak English, and some do not share any language at all. But they groove so fluently together once the drum sounds, the sax bellows, and the flute releases its happy harmonies.  

The camaraderie we experience as artists, and the harmony we witness in audiences seems so universal. It is shared by every musician and dancer we have ever met or read about.  And it has been palpable in every crowd of which we have been part.  George’s life is a testament to this unity, and the Newport Festivals are an exceptional demonstration of it.

All of this seems in stark contrast to the news we hear every day. We hesitate to turn to the television channels that dispense daily news. For all we hear is talk of the divisions in our politics, the bigotry in our society, and the empty phobias among our people.

Well, shame on all that! George’s triumph has taught us that the ugly reality we see in our politics may come and go, but our culture runs deeper, and it endures. Music and dance existed before civilization did.  They have always brought us together. And the conversations and collaborations of artists—facilitated by people like George—are already shaping an even more unified America for tomorrow. We refuse to let the noise on television subdue our enthusiasm. We refuse not because we are naïve, but because we believe that reality sooner or later catches up to dreams we cherish when hear music and dance. Because sure as the beat of the drum on that stage tomorrow, we know that life will one day imitate George!

The authors, Riya and Sara Kapoor are twin 17-year-olds and the sisters perform the traditional Bharatantayam dance mixed with Jazz. They are emerging innovators in the world of music and dance.


Friday, August 4

Béla Fleck & the Flecktones

Béla Fleck has reconvened the original ‘Béla Fleck & The Flecktones’ featuring pianist/harmonica player Howard Levy, alongside Fleck, bassist Victor Wooten and percussionist/Drumitarist Roy “Futureman” Wooten. 

The group has won six Grammy Awards from 1997 to 2012. 


Friday, August 4

Maceo Parker

Saxophonist Maceo Parker embodies the legacy of soul and funk music like no other musician can. 

Parker will soon re-release Roots Revisited — The Bremen Concert, a live recording from the first incarnation of Maceo’s own band in 1990. 

His current band hits the road this season in celebration of repertoire spanning the prolific career of this funk legend: 50 Years of Funk.


Friday, August 4

Cécile McLorin Salvant

Cécile McLorin Salvant grew up in a bilingual household in Miami, the child of a French mother and Haitian father. 

Her 2016 Grammy Award-winning album, For One To Love may be one of the defining jazz statements on romance. 


Friday, August 4

Trombone Shorty & Orleans Avenue 

Trombone Shorty and Orleans Avenue will perform at the International Tennis Hall of Fame beginning at 8 p.m. 

Trombone Shorty is best known as a trombone and trumpet player but also plays drums, organ, and tuba. He has worked with some of the biggest names in rock, pop, jazz, funk, and hip hop.

The band is made up of Troy “Trombone Shorty” Andrews, Dan Oestreicher, BK Jackson, Pete Murano, Mike Bass-Bailey, Joey Peebles. 


Friday, August 4

Naturally 7

Naturally 7 just released thier seventh studio album titled “Both Sides Now.”

Some of their previous biggest successes were notable interpretations of Global Hits from Phil Collins’ “Feel It (In The Air Tonight)”; Coldplay’s epic “Fix You” to their self- penned “Wall Of Sound”; all of which they performed during 3 world-tour with Michael Bublé in 467 shows to over 4 million people in 25 countries.


Friday, August 4

Leslie Odom, Jr.

Leslie Odom, Jr. has most recently been seen in the blockbuster Broadway musical Hamilton, for which he won the Tony Award for Best Leading Actor in a Musical for the role of “Aaron Burr.”

He is a Grammy Award winner as a principal soloist on Hamilton’s Original Broadway Cast Recording, which won the 2015 award for Best Musical Theater Album.


Friday, August 4

Joey DeFrancesco + The People

DeFrancesco has recorded and/or toured with his own groups as well as numerous renowned artists that include Ray Charles, Diana Krall, Nancy Wilson, George Benson, James Moody, John Scofield, Bobby Hutcherson, Jimmy Cobb, John McLaughlin, Larry Coryell, David Sanborn and many more. 

DeFrancesco’s new quartet, features him on the Hammond B-3—plus contributions on keyboards, trumpet and as a vocalist. Accompanying DeFrancesco are drummer Jason Brown, guitarist Dan Wilson and saxophonist Troy Roberts — collectively billed as the People.


Friday, August 4

Vijay Iyer & Wadada Leo Smith

Vijay Iyer and his “hero, friend and teacher”, Wadada Leo Smith. Vijay previously played extensively with Wadada in the trumpeter’s Golden Quartet. 

A 2013 Pulitzer finalist, Smith was the Jazz Journalist Association’s 2013 ‘Musician of the Year’ and ’Trumpeter of the Year’. In 2014 DownBeat named him “One of the 80 Coolest Things in Jazz Today,”

Vijay Iyer received the annual prize of the German Record Critics for his album Break Stuff, and was voted ’Jazz Artist of the Year’ in the DownBeat Critics Poll in 2012, 2015 and 2016 as well as the ‘Pianist of the Year’ in 2014.


Friday, August 4

Amir ElSaffar’s Rivers of Sound Orchestra

Rivers of Sound is a large ensemble of instrumentalists from Western and Middle Eastern traditions, exploring the confluences of a musical language that transcends notions of tradition and style.

Composer, trumpeter, santur player and vocalist, Amir ElSaffar, an expert in Jazz and Iraqi maqam, has built his novel approach to combining musical languages through his six-piece ensemble Two Rivers.

Over the past eight years, the group has released three CD’s on Pi Recordings. Crisis, the most recent, was a Newport Jazz Festival commission. 


Friday, August 4

Christian Sands Quartet

Christian Sands  released his Mack Avenue Records debut CD “Reach” in Spring of 2017.

He is a five-time Grammy Nominee, bringing  a fresh look to the jazz language.


Friday, August 4

One For All

One For All is made up of some of the most in-demand players in modern jazz. The cooperative group’s celebrated lineup includes tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, bassist John Webber, and drummer Joe Farnsworth. 

Together, they have amassed an impressive discography of 16 recordings and are renowned worldwide for their intrepid soloing and their sublime arrangements.


Friday, August 4

Evan Christopher Clarinet Road

Evan Christopher works to extend the legacy of the New Orleans clarinet style.  

He was drawn to New Orleans from his native California in 1994 by the rich cultural landscape and music scene. 


Friday, August 4

Rodriguez Brothers

The Rodriguez Bros. band was formed in 2002 and has produced four critically acclaimed recordings that have led to worldwide performances.

Their recent 2016 Grammy Nominated recording “Impromptu” featured original compositions employing Afro-Cuban, South American and Jazz elements. 


Friday, August 4

Jimmy Greene Quartet

Jimmy Greene’s new release, Beautiful Life on Mack Avenue Records, is a celebration of the life of his 6-year-old daughter, Ana Márquez-Greene, whose life was tragically taken, along with 19 other children and 6 educators, on December 14, 2012 at Sandy Hook Elementary School in Newtown, Connecticut.

Greene’s latest recording, “Beautiful Life,” has been nominated for two Grammy Awards: Best Jazz Instrumental Album and Best Arrangement, Instruments and Vocals. The album was released by the Mack Avenue label.


Friday, August 4

George Burton Quintet

Burton’s highly anticipated debut release on saxophonist Greg Osby’s label Inner Circle Music, The Truth Of What I Am > The Narcissist features 10 original compositions produced by two-time Grammy winning bassist Derrick Hodge.


Friday, August 4

Berklee Global Jazz Institute Workshop Ensemble 

The Berklee Global Jazz Institute (BGJI) is a performance program designed to foster creativity and musicianship through various musical disciplines, with pianist and composer Danilo Pérez as its artistic director.


Saturday, August 5

Snarky Puppy

The band was formed by bassist and primary composer Michael League in 2003 at the University of North Texas’ Jazz Studies program.

Snarky Puppy’s grass-roots approach to the changing music industry has met major success, including two Grammy awards in three years. The first was with Lalah Hathaway on Family Dinner – Volume One for “Best R&B Performance” in 2014, and the second in 2016 for “Best Contemporary Instrumental Album” with the Metropole Orkest on Sylva. 

Fresh off of the release of its tenth album, Family Dinner – Volume Two, the band returned to its roots as an instrumental ensemble with a brand new collection of nine original songs entitled Culcha Vulcha, their first studio album in seven years, which has been nominated for Best Contemporary Instrumental Album in 2017.


Saturday, August 5

Branford Marsalis Quartet

NEA Jazz Master, renowned Grammy Award winning saxophonist and Tony Award® nominee Branford Marsalis is one of the most revered instrumentalists in the world.

Marsalis’ most current recording with his quartet is Four MFs Playin’ Tunes. On this album, the song takes center stage, with the band members bringing their considerable musical expertise to bear, as they focus on each tune as an important musical entity unto itself and not merely a vehicle for showcasing individual talent.  


Saturday, August 5

Rhiannon Giddens

Giddens will also be performing at the International Tennis Hall of Fame on Friday, August 4 beginning at 8 p.m. 

Giddens is the co-founder of the GRAMMY award-winning string band Carolina Chocolate Drops, in which she also plays banjo and fiddle.

On February 24, 2017, Giddens follow-up album Freedom Highway was released. It includes 9 original songs Giddens wrote or co-wrote along with a traditional song and two civil rights-era songs, “Birmingham Sunday” and Staple Singers’ well-known “Freedom Highway,” from which the album takes its name.

Giddens’ recent televised performances include The Late Show, Austin City Limits, Later… with Jools Holland, and both CBS Saturday and Sunday Morning,


Saturday, August 5

Christian McBride Big Band

Christian McBride is a five-time GRAMMY® Award-winning bassist/composer who, since the early ‘90s, has recorded over 300 dates as a sideman and released albums as a leader since ’95.

McBride tours consistently with his trio and his quintet, Inside Straight. He also fronts the Christian McBride Big Band, whose Mack Avenue Records recording, The Good Feeling, won the GRAMMY Award for Best Large Jazz Ensemble Album in 2012—his third win overall.


Saturday, August 5

Flying Toward The Sound: For Geri, With Love

Esperanza Spalding, bass
Terri Lyne Carrington, drums
Vijay Iyer, piano
Jason Moran, piano
Christian Sands, piano


Saturday, August 5

Jazz 100: The Music of Dizzy, Mongo and Monk

2017 marks the centennial celebration for four visionary icons of music all born in the same glorious year: Dizzy Gillespie, Ella Fitzgerald, Mongo Santamaria and Thelonious Monk. 

Jazz 100 showcases the dynamic individual artistry of each icon and the powerful unifying threads between them which helped shape and inform not only the evolution of jazz but modern music as we now recognize it. 


Saturday, August 5

Henry Threadgill Zooid

Henry Threadgill has been celebrated as one of the most forward-thinking composers and multi-instrumentalists in American music.

2016 was a banner year for Threadgill: his work “In for a Penny, In for a Pound” was the winner of the Pulitzer Prize for Music, the annual Leadership Conference of the Vietnam Veterans of America honored him with their Excellence in the Arts award, he received a Lifetime Achievement Award from the Jazz Journalist Association, and his recording “Old Locks and Irregular Verbs” was voted the number one album of the year in both the NPR Jazz Critics Poll and the Jazz Times Critics’ Poll. 


Saturday, August 5

Vijay Iyer Sextet’

Grammy-nominated composer-pianist Vijay Iyer was described by Pitchfork as “one of the most interesting and vital young pianists in jazz today.”

He has been voted DownBeat Magazine’s Artist of the Year three times – in 2016, 2015 and 2012. Iyer was named Downbeat’s 2014 Pianist of the Year, a 2013 MacArthur Fellow, and a 2012 Doris Duke Performing Artist.

In 2014 he began a permanent appointment as the Franklin D. and Florence Rosenblatt Professor of the Arts in the Department of Music at Harvard University.


Saturday, August 5

Antonio Sanchez & Migration

2014 proved to be a big year for drummer/composer/bandleader Antonio Sanchez.

Long one of the most acclaimed drummers of his generation, Sanchez’s ever-expanding musical vision was discovered by new audiences through his Golden Globe & BAFTA-nominated score for Alejandro González Iñárritu’s Academy Award-winning film Birdman or (The Unexpected Virtue of Ignorance), and a globe-spanning 150-city tour with the Pat Metheny Unity Group – in addition to appearing as a featured musician in Miles Ahead, Don Cheadle’s forthcoming biopic on Miles Davis.


Saturday, August 5

DJ Logic’s Project Logic

DJ Logic is widely credited for introducing jazz into the hip – hop realms and is considered by most as a highly respected session musician and an innovative bandleader.

Over the years, he has built up a mountain of collaborations ranging from the likes of: MEDESKI MARTIN AND WOOD, CHRISTIAN MCBRIDE, VERNON REID, CHARLIE HUNTER, JACK DeJOHNETTE, JOHN MAYER, BEN HARPER, MOS DEF and THE ROOTS, to name but a few.


Saturday, August 5

Benny Golson Quartet

Benny Golson is the only living jazz artist to have written 8 standards for jazz repertoire.

These jazz standards have found their way into countless recordings internationally over the years and are still being recorded. A prodigious writer, Golson has written well over 300 compositions.

For over 60 years, Golson has enjoyed an illustrious, musical career in which he has not only made scores of recordings but has also composed and arranged music for: Count Basie, John Coltrane, Miles Davis, Sammy Davis Jr., Mama Cass Elliott, Ella Fitzgerald, Dizzy Gillespie, Benny Goodman, Lionel Hampton, Shirley Horn and many more.


Saturday, August 5

Uri Caine Trio

Caine has recorded 30 albums as a leader. A new trio cd, Calibrated Thickness (816Music), with Mark Helias and Clarence Penn has just been released. Space Kiss (816 Music), an upcoming cd with the Lutoslawski String Quartet features new compostions for piano and strings.

Recent Cds include Sonic Boom with Han Bennink (816 Music 2013), Rhapsody in Blue (Winter and Winter 2013) and Callithump (Winter and Winter 2014).

He was nominated for a Grammy for the OthelloSyndrome (Winter and Winter) in 2009.


Saturday, August 5

Dominick Farinacci

Farinacci has performed in more than 120 cities in 14 countries around the world, was a featured guest on ABC’s Good Morning America, and is a TED Speaker. 

His most recent recording “Short Stories” is produced by Tommy LiPuma. This is Tommy & Dominick’s first collaboration, and was recorded in their hometown of Cleveland at the Tommy LiPuma Center for the Arts. 


Saturday, August 5

Gilad Hekselman

Gilad Hekselman has quickly developed a reputation as one of the most promising guitarists in New York since his arrival in 2004

He has performed at all of the major jazz clubs in New York City, and tours the world constantly with his band, and as a sidemen. He has released multiple albums to critical acclaim including SplitLife (Smalls Records) Words Unspoken(LateSet Records) Hearts Wide Open, This Just In and Homes (Harmonia Mundi).


Saturday, August 5

JoAnne Brackeen

JoAnne Brackeen has been described as “a visionary of extraordinary depth” by Tony Bennett, and “a pianist-composer of phenomenal capacity” by the late Bill Evans. 


Saturday, August 5

David Torkanowsky

Torkanowski has been pianist and/or musical director for The Al Hirt Big Band, Boz Scaggs, Gladys Knight, Zoot Sims, Eddie “Lockjaw” Davis, Joe Henderson, Randy Brecker, Chuck Berry, Linda Hopkins, Slide Hampton, James Moody, The Meters, Sonny Fortune, Evan Chrisopher, Dr. John, Lionel Hampton, Zachary Richard,

He has been the composer and/or contributed music for “The Big Easy” (USA Network), “Crime Story” (NBC), “Tremé” (HBO), “Bosch” (HBO) “Sons of Guns” (Discovery), and award winning documentaries “The Big Uneasy”, directed by Harry Shearer, and “The Experiment”, a comprehensive documentary that explores the proliferation of Charter Schools in Post-Katrina New Orleans.


Saturday, August 5

Peter Evans 

Peter Evans is a trumpet player, and improviser/composer based in New York City since 2003.


Saturday, August 5

Jason Palmer’s Berklee Septet

Jason Palmer’s Berklee Septet is composed of some of the college’s finest student players, engaged in a six-month-long, working mentorship with trumpeter and composer Jason Palmer, assistant professor of Ensemble and Brass at Berklee.

A Steeplechase Records recording artist, and a veteran of the bands of Grace Kelly, Kurt Rosenwinkel, Ravi Coltrane, Mark Turner and Matana Roberts, Palmer has been cited by DownBeat as one of the Top 25 Trumpeters of the Future.

The band will be performing compositions by Palmer, and bandmembers Zach Auslander, Domi Degalle, and Emery Mesich.


Saturday, August 5

Rhode Island Music Educators Association Sr. All-State Jazz Ensemble

In 2012, the RIMEA Sr. All-State Jazz Band was invited to perform at the Newport Jazz Festival, in a surprise announcement at the All-State Concert held at URI.

Since that time, nearly 80 students have had the opportunity to showcase their talent at this iconic festival in their home state.

This year the band is directed by jazz trombonist and Rhode Island’s own, Artie Montanaro. Mr. Montanaro is currently in his 32nd year of teaching at the Cranston High School West


Sunday, August 6

The Roots

The legendary Roots Crew, consists of Black Thought (MC), Ahmir “?uestlove” Thompson (drums), Kamal Gray (electronic keyboards), F. Knuckles (percussion), Captain Kirk Douglas (electronic guitar), Damon Bryson (sousaphone) and James Poyser (electronic keyboard). 

The Roots were named one of the greatest live bands around by Rolling Stone, became the official house band on The Tonight Show Starring Jimmy Fallon where they currently perform every Monday- Friday.

The Roots celebrated the release of their 11th studio album …and then you shoot your cousin in May 2014. 


Sunday, August 6

Andra Day

Day has been nominated for “Best R&B Performance” (“Rise Up”) and “Best R&B Album” (Cheers to the Fall) at the 58th Annual Grammy Awards, as well as “Outstanding New Artist” for the 47th NAACP Image Awards. 

In the fall, Day appeared on tour with Lenny Kravitz’ for her first national tour run, completed her first sold-out headline tour, and provided the end title track for the climber drama Meru. 


Sunday, August 6

Maria Schneider Orchestra

The Maria Schneider Orchestra has performed at festivals and concert halls worldwide. She herself has received numerous commissions and guest-conducting invites, working with over 85 groups from over 30 countries. 

Schneider and her orchestra have a distinguished recording career with twelve GRAMMY nominations and five GRAMMY awards.


Sunday, August 6


This all-star band calls themselves Hudson, named after the Hudson River Valley they each call home. Drummer Jack DeJohnette, bassist Larry Grenadier, keyboardist John Medeski, and guitarist John Scofield team up to celebrate their musical histories and Jack’s 75th birthday year in a tour de force of creative interplay.

Their June 2017 album release and performances will feature original compositions as well, inspired by their surrounds and each other. This is a band with wide ranging appeal.


Sunday, August 6

Philadelphia Experiment

Three-day recipe for pure funk: throw three masters of different flavors of funk in a room together, give them virtually no artistic preparation or direction and lock the door for two days. on day three, add one extra ingredient just to make it interesting, and keep the doors locked. remove from the studio and serve to millions.


Sunday, August 6

Jason Moran: Fats Waller Dance Party

Pianist and composer Jason Moran has established himself as a risk-taker and innovator of new directions for jazz as a whole.

For more than a decade, Moran and his trio The Bandwagon have dazzled audiences at elite venues worldwide, including the Village Vanguard in New York, the Newport Jazz Festival, and the North Sea Jazz Festival. 


Sunday, August 6

Tim Berne’s Snakeoil

Snakeoil, Tim Berne’s new touring band, is a potent blend of new voices and new ideas.

Oscar Noriega (woodwinds), Matt Mitchell (piano) and Ches Smith (percussion and vibes) bring fresh sounds and vibrant energy.


Sunday, August 6


The word bokanté means “exchange” in Creole, the language of vocalist Malika Tirolien’s youth growing up on the Caribbean island of Guadeloupe.

The band’s debut album, “Strange Circles,” goes from Zeppelin-esque blues stomp to folkloric Caribbean kaladja over the course its ten tracks, blending the extensive and varied knowledge of the individual players with a strong, yet empathetic, lyrical approach. 


Sunday, August 6

Theo Croker

Theo Croker’s 2016 release “Escape Velocity” is ranked the #1 Jazz Album in the UK by Echoes Magazine.

The accolades continue worldwide with iTunes (Global), The Observer (US) and others naming the album as one of the Top Jazz albums of 2016. With a global spotlight release on iTunes and Amazon, now over 1.5 million cumulative streams on Spotify, and nearly 1 million streams for the track “No Escape from Bliss” it is clear that listeners agree.


Sunday, August 6

Cyrus Chestnut Trio

Born in 1963, Chestnut started his musical career at the age of three, playing piano at the Mount Calvary Star Baptist Church at the age of five in his hometown of Baltimore, MD.

In the fall of 1981, Cyrus began jazz education in Boston, MA at the Berklee College of Music, where he earned a degree in jazz composition and arranging.

There’s a Brighter Day Coming was his first self-released album, followed by The Nutman Speaks (1992), The Nutman Speaks Again (1992), Another Direction (1993). 


Sunday, August 6

Sean Jones Quintet

Jones is currently performing with the quartet on his latest CD, who have been working together since 2007 – with pianist Orrin Evans, bassist Luques Curtis and drummer Obed Calvaire.

He recently joined the Berklee College of Music’s distinguished faculty as the Chair of the Brass Department.

He has also taught at Duquesne University in his adopted hometown of Pittsburgh and at the Oberlin Conservatory of Music, while regularly offering master classes and clinics all around the world.


Sunday, August 6

Cyrille Aimée

In August 2014, The New York Times referred to Aimée’s major label release It’s a Good Day as “a bravura turn, presented with a smile.”

With Let’s Get Lost, her second album for Mack Avenue Records, she blossomed into a full-fledged artist.


Sunday, August 6

Vernon Reid

Around 1983, Reid formed the first version of what was to become Living Colour; in 1985, with journalist Greg Tate, he formed the Black Rock Coalition.

Reid has continued to make periodic appearances on others’ recordings, and in 1996, he issued his solo debut, Mistaken Identity. Most recently, Vernon has been continuing to work and tour with DJ Logic’s “Project Logic,” and the Burnt Sugar Arkestra, working on film scores, leading his large band project “Hexadecimal Gris-Gris” and producing projects such as “MazzMuse: The Band.”

The new Living Colour record “Shade” will be released Autumn 2017.


Sunday, August 6

John Medeski

Keyboard master John Medeski thrives on the unpredictable, a trait that has kept his work fresh and surprising throughout his decades-long career. 

His first solo piano project, A Different Time, is a more introspective collection, recorded on a 1924 Gaveau piano and released on Sony Classical’s newly-revived OKeh records imprint in 2013. 


Sunday, August 6

Marilyn Crispell

Marilyn Crispell has been a composer and performer of contemporary improvised music since 1978. For ten years, she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble, and she has performed and recorded extensively as a soloist and with players on the American and international jazz scene, also working with dancers, poets, film-makers and visual artists, and teaching workshops in improvisation.

She has been the recipient of three New York Foundation for the Arts Fellowship grants, a Guggenheim Fellowship, and a Mary Flagler Cary Charitable Trust composition commission.


Sunday, August 6

Orrin Evans

Evans’ scintillating new album, The Evolution of Oneself (Smoke Sessions), takes stock of the pivotal moments that have shaped his distinctive trajectory.

The album is one more landmark in his musical evolution, introducing a remarkable new piano trio with two longtime associates but first-time collaborators: bassist Christian McBride and drummer Karriem Riggins. 


Sunday, August 6

Newport Jazz Assembly Band

The Newport Jazz Assembly is a program conceived by URI graduate, Ben Marcoux and presented at over 35 schools and heard by over 10,000 students. 

Each NJA band member brings their own passion for jazz and their joy in sharing it with students, many of whom have not heard a live music concert before. Members of the NJA band perform regularly as leaders and sidemen in RI, NY and CT and they are: Ben Marcoux, woodwinds, alto and tenor saxophone, Joshua Bruneau, trumpet, Jimmy O’Connell, trombone, Noah Barker, piano/keyboards, Alex Tremblay, bass, Tony Davis, guitar and Mike Camacho, drums.


Sunday, Augut 6

University of Rhode Island Big Band

Along with past performances at the Newport Jazz Festival, the URI Jazz Big Band has in the past performed at Lincoln Center, won first place at the MIT New England Intercollegiate Jazz Festival, and performed at many concerts and events on campus and throughout New England.


Sunday, August 6

Massachusetts Music Educators Association All-State Jazz Band

The Massachusetts Music Educators Association’s All-State Jazz Band has appeared at the Newport Jazz Festival since 2013.

Featuring the best students from around the state, the MMEA All-State Jazz Band is presented at Boston’s magnificent Symphony Hall during MMEA’s annual all-state festival.

This year’s band will be directed by Ronald Carter, Professor Emeritus from Northern Illinois University.

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Katherine Dunham, Pioneering Dancer and Activist, Inspires a Book


Eartha Kitt, foreground, and James Dean in a Dunham dance class in the early 1950s. Credit Dennis Stock/Magnum Photos

The choreographer, dancer and social activist Katherine Dunham made headlines in 1944, when, after reluctantly performing for a racially segregated audience in Louisville, Ky., she declared that if the theater wanted her to return, it would have to integrate. This scene introduces an in-depth, necessary new book on Dunham and her trailblazing career, “Katherine Dunham: Dance and the African Diaspora” (Oxford University Press), by the dance historian Joanna Dee Das.

Ms. Das, who grew up studying Dunham Technique, examines the relationships, both explicit and subtle, between Dunham’s art and activism, from her formative travels in Haiti to her support for the Black Arts Movement in East St. Louis, Ill. A multifaceted portrait emerges, of a woman who believed, as Ms. Das puts it, that “living in the space of diaspora, in between-ness, was the way to achieve wholeness.” Though Dunham is celebrated for her contributions to modern dance, her works are rarely restaged today. Ms. Das leaves us wondering: How can we see more?

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Seres Therapeutics Share Price Rise Over Past Month; Q2 Earnings Steady As You Go

Understanding the reasons for share price appreciation in the biotech space can be a black art. Seres Therapeutics (NASDAQ:MCRB) offers such a conundrum at the moment. I summarised recent clinical trial developments just last month, so readers are referred to this summary. In that article I noted it seemed that the share price was breaking through a $10 barrier and this recovery was sustained until last week. Here I look for evidence on which a share price recovery could be based (remembering that 12 months ago the share price crashed from $35.77 on July 28 to $10.94 the following day).

Recent share price movements

Two charts give a clear picture of the situation.

Firstly, there is the 18 month chart for Seres. This shows the crash in late July 2016, followed by the share price moving in the range $8.99-$14.56.

Secondly, the 3 month chart indicates a breakout, although this has not been smooth with a correction along the way. The range is $9.60 to $14.56. Apart from a brief peak in September 2016, the increase in share price since June indicated a breakout from the past 12 months. However in the past 5 days trading the share price has fallen back to ~$13.30.

Why did the share price increase over the past couple of months?

The first answer to this question is that it seems that share price increase is not being sustained and the share price may be reverting towards the mean around $10, which has been the pattern for the past 12 months.

However, there are two developments that might explain some recovery in the share price since early June. The first began on 12 June when Seres reported initiation of the Phase 3 trial on SER-109. The second occurred after appointment of Willard Dere to the Seres Board of Directors on July 10 (see below).

Does the increased share price indicate less risk of failure for the current clinical trials?

The trials are ongoing and we shall only know how they perform when the data is in. The rest is speculation. There is not long to wait for the initial readout from the Phase 1b SER-287 trial as results will be available before the end of 2107. The SER-109 Phase 3 trial is much larger and it has many centers in the US and Canada. Enrolment is underway (one quarter of the sites are enrolling) but as yet there is no clarity as to when enrolment for this trial will be completed.

Q2 results

Seres reported “steady as you go” Q2 results, with Q2 net loss of $28.0 million compared with a loss of $27.9 million for Q2 2016. $3 million revenue came from the Nestle Health Science collaboration in Q2. R&D expense at $23.1 million was similar to the $22.2 million expense for Q2 2016. General & administration expenses were down a little at $8.4 million compared with $9.0 million in Q2 2016. A significant $20 million milestone payment for SER-109 entering Phase 3 trial is expected in Q3 2017. This payment will cover a significant portion of the decrease in cash of $27.0 million in Q2, which left cash at $175.2 million, so after the milestone payment the cash balance will be close to $200 million entering Q3. One unexplained change is that a long term investment of $36.752 million on December 31,2016 is reported at $3.962 million as of June 30, 2017.

Q2 Conference Call

While things haven’t changed greatly since I last reported on Seres in mid-June, the investor call did provide some more information about Seres second generation drugs that are composed of mixtures of spores obtained from culture of anaerobic bacteria from the proprietary Seres microbiome library. These drugs are better defined than those containing spores derived from processing human feces.

Three of these defined products were discussed (SER-262 for primary C.difficile infection, SER-301 for Inflammatory Bowel Disease (including Ulcerative Colitis), and SER-155 for prevention of infection and Graft Versus Host Disease following hematopoietic stem cell or solid organ transplant). The choice of the spores used in these second generation microbiomic drugs is not casual. For example, in developing SER-301, Seres has multiple animal models for Ulcerative Colitis in humans and these models are being used to examine the effect of various mixtures of bacterial spores to refine the most suitable composition for SER-301.

SER-262, which is composed of spores of 12 bacteria from the Seres microbiome library, is in Phase 1b clinical trial. This is a first in human 24 week dose escalation trial using cultured bacteria prepared using anaerobic fermentation (no human donor material).

There is a lot of cutting edge science happening in defining these new products as well as in developing metrics for assessing efficacy of the drugs.

Appointment of Willard Dere to the Seres Board of Directors

Continuing the tradition of highly credentialed individuals on the Seres board, Willard Dere joins the board with 2 decades of scientific, clinical and strategic biopharma experience at Amgen (NASDAQ:AMGN). His previous experience as Chief Medical Officer at Amgen for a decade and also as Head of Global Development brings deep industry experience to the board. His leadership of clinical development of a number of approved products including in inflammation is valuable experience for Seres.


The conclusions I reached in my last article on Seres still stand. I think this is an interesting investment opportunity in an emerging field of biotech that could become very large. After a recent rise over the past month, there may be an opportunity to take a position with a pullback in the leadup to the results of the SER-287 trials towards the end of this year.

The Q2 results are steady as you go. With cash at $175.2 million and a $20 million milestone payment due imminently, the company remains well funded. The critical determinant for share price recovery is success in either the SER-287 Phase 1b or SER-109 Phase 3 trials. The SER-109 trial result is more critical as success would herald approval for this drug for treating recurrent CDI.

I am not an financial advisor and so you need to do your own due diligence or talk with your financial advisor. I do have a significant technical background in biotech and offer my commentary from that perspective. If my commentary is helpful, please consider following me.

Disclosure: I/we have no positions in any stocks mentioned, and no plans to initiate any positions within the next 72 hours.

I wrote this article myself, and it expresses my own opinions. I am not receiving compensation for it (other than from Seeking Alpha). I have no business relationship with any company whose stock is mentioned in this article.

RankTribe™ Black Business Directory News – Arts & Entertainment