Will Liverman's "Dreams of a New Day" has changed the way many people think about the spiritual, and his contemporary approach to opera promises to engage the next generation in a completely new way. He joins Garrett to talk about his new album, his new opera, and some of the Black History that's inspired both. Scott and Garrett find a through line between Joseph Bologne, Chevalier de Saint-Georges, George Bridgetower, The Isley Brothers and Earth, Wind, & Fire, and wrap things up with a conversation about what it would look like to call it quits.
Thank you to KING FM for supporting TRILLOQUY.
Should all-white choirs sing Negro Spirituals? What does the contemporary discourse of race look like to arts leaders from decades past? Is Hip Hop part of the classical tradition? Dr. Louise Toppin joins Garrett to unpack these topics while showcasing her lifelong dedication to the music born from Afro-American culture. Garrett and Scott wrap up their celebration of Women's History Month by honoring the music of Julia Kent, Zoë Keating, Beyoncé, and others. For the weekly TRILLOQUY, the guys speak to the current legislated violence against women and trans people, and honor some of the women who have stood up against voter suppression and sexual assault.
People don't typically think of the "classical" American tradition of country music as being rooted in Blackness - Rissi Palmer is working to change that by spreading the truth of country music's Black origins through her show, "Color Me Country". She joins Scott and Garrett to explore the intersection of race, gender, "classical" and country while highlighting some of the Black women whose names often go unheard in the genre. Scott honors the story of Vivian Strong while helping Garrett unpack Tulsa Opera's latest scandal, and the guys say good riddance to a sexual predator.
After studying the feminist anthology, "This Bridge Called My Back", flutist Lorin Green found a new calling: producing an anthology of Black classical music experiences. She joins Garrett to talk about the anthology, WOC-feminism, and current events "through the eyes of 'classical' music professionals". Garrett and Scott cover the Grammys, its broad unappeal, and the Women's History therein, and return to the conversation of content creation and ownership as it applies to the future of broadcast networks and independent producers.
***Coined by the queer Black feminist Moya Bailey in 2010, the term misogynoir is a blending of concepts that combines “misogyny” and the French word for black, “noir.” According to Ms. Bailey, misogynoir is the anti-Black racist misogyny that Black women experience.
After spending years away from her native Louisiana, composer Courtney Bryan returned to New Orleans to work as the Louisiana Philharmonic Orchestra's first-ever Creative Partner - a post that includes engaging community outreach initiatives, writing music, and being a part of the change that many orchestras desperately need. She talks with Garrett about her planned approach to this new position, the music she's bringing with her, and the home-grown experiences that fuel her perspective. Scott and Garrett continue their celebration of Women's History Month with music by Psalm One, Alice Coltrane, Rebecca Sugar, and others while responding to this week's Royal bombshell.
This opus is made possible, in part, by unClassified.
The Grammy Award-winning Catalyst Quartet is on a journey to create more recordings of music by women and composers of color, with the project, "Uncovered" being the latest installment. Abi Fayette joins Garrett to talk about the unique role that summer music festivals played in her development, her life as the newest member of the Catalyst Quartet, and how "Uncovered" has played a pivotal role in her own understanding of the importance of showcasing music by marginalized composers. Garrett and Scott continue their year-round celebration of women in music with performances by Monica Ellis, the Women's Philharmonic, Nina Simone, and others, and the guys address the recent misstep from the Oberlin Conservatory of Music.
This opus of TRILLOQUY is made possible, in part, by unClassified.
Racial equity in "classical" music culture extends far beyond the world of performance! James Bennett II does his part as a staff writer at New York City's WQXR-FM, and joins the guys to talk about his job, the power of the pen, and how he reacts to today's social ecosystem as a content creator. Scott reacts to Regina King's "One Night in Miami" and celebrates composer Stevie Wonder, while Garrett engages the "trill" nature of the Black content of decades past. Support for TRILLOQUY comes from unClassified.
The celebration of Black History wouldn't be possible without the tireless work of Black historians, and in the field of "classical" music Mr. Bill Doggett is leading the way. Bill joins Garrett to take a look back at the Watts uprisings, his work with composer Adolphus Hailstork, and more. Scott honors the lives of Mary Wilson and Chick Corea, and the guys address the latest viral misstep in Music Education.
***Barnor Hesse defines a "race traitor" as someone who actively refuses complicity with the intention of subverting whiteness and telling the truth at whatever cost. The National Museum of African American History and Culture defines whiteness as the way that white people, their customs, culture, and beliefs operate as the standard by which all other groups are compared.
This opus of TRILLOQUY is made possible, in part, by unClassified and Opera Philadelphia.
As names like Florence Price and William Grant Still become more familiar to the masses, it's important to also celebrate Black musicians who embrace "classical" music's contemporary aesthetics. Composer Clifton Joey Guidry III joins Garrett to talk about mental health as a young creator, their experiences as a Black, trans bassoonist in contemporary music spaces, and the situation that inspired their composition, "Shut the Fuck Up and Listen". Scott honors John Coltrane's "A Love Supreme" and connects it to modern equity initiatives, and Garrett addresses his frustrations with the instrumental choreography performed at Super Bowl LV.
Public Media continues to be one of the principle vehicles for "classical" music, and the coalition, Public Media For All, is here to push its institutions toward radical and equitable change. Ernesto Aguilar and Consuela "Sway" Steward join Garrett to talk about the coalition, holding institutions accountable, and the mutual benefit of DEI. Scott inspires a "trill" explanation of equality vs. equity, and the guys connect contemporary greats with Black History Month.
Huge shout out and THANK YOU to James Bennett II for being an important source of information and inspiration.
Thank you to The Family Crest for their support - check out their Tiny Desk concert!
After deciding that she needed a change in her life, Maria Ellis quit her job and returned to school to earn a degree in Music Education. Today, she's leads choirs and hosts a genre-bending radio show called "Bach and Beyoncé". She talks with Garrett about this, what she believes makes a piece of music "classical", and her hopes for the radio industry. Scott reacts to a newly released recording of early 20th century Afro-American musicians, and Garrett addresses issues with the Sphinx Organization and the group, International Double Reed Discussions.
Arts institutions must be held accountable for the promises that they make in conjunction with DEI initiatives, and in the world of opera, the Black Opera Alliance has answered the call. World-renowned mezzo-soprano, Raehann Bryce-Davis joins Garrett to talk about the goals of BOA, the backstage life of a Black opera singer, and more! Scott highlights a national equity initiative in public radio, and the guys honor the dynamic lives of Ryuichi Sakamoto, Nichelle Nichols, and Dr. Martin Luther King Jr.
This opus of TRILLOQUY is made possible, in part, by Opera Philadelphia.
Is your New Year's Resolution fat-phobic? It may be! Laura Krider from the American Composers Forum joins Garrett to explore "the last 'acceptable' form of discrimination", and the impacts that it can have on the developing musician. Scott celebrates the music and the legacy of Living Colour, while Garrett honors a soothing piano composition written in honor of Black Lives Matter. The hosts also unpack the art of sampling, and the attack on the United States Capitol.
The women from the Classically Black podcast return to talk about their new organization, the International Society for Black Musicians, as well as Katie Brown's fellowship with the Memphis Symphony Orchestra, and Dalanie Harris' use of a new social media app to network with even more Black musicians. Scott honors the personality and the playing of pianist Andre Watts, and Garrett addresses the public defamation and physical assault of Keyon Harrold Jr.
For the final opus of 2020, Garrett and Scott go back and talk about some of their most memorable TRILLOQUY moments, including their discussion of "cancel culture", the Louis Farrakhan opus, and the compositions that moved them most. Scott honors pianist and bandleader, Matthew Whitaker, and Garrett chats with Quanice Floyd about her op-ed that shook the world of arts administration this year.
When Dr. Molly McCann isn't doing cannabis consumer research, she's at the piano engaging in the intoxicating sounds of the music of Fanny Hensel. She joins Garrett and Scott to talk about why Mrs. Hensel's music is so important, the stigma surrounding cannabis use, and how "classical" music institutions could benefit from weed culture. An episode of "Good Times" inspires Garrett's musical picks for the week, and Scott offers warm words to people spending the holidays alone for the first time.
After becoming a mother, oboist Wendy Caudle Hodge decided that she needed to make an impact on Music Education. Through her advocacy, Loudoun Co., VA has created 90 DEI jobs, community-based initiatives that really speak to children's needs, and so much more. She's now a leader at the Historic Ashburn Colored School, and joins Garrett to talk about her work and her love for hip-hop. The guys give an update on some of the latest arts news coming from New York City, and Scott honors the late Charlie Pride. The opus concludes with a TRILLOQUY dedicated to Time Magazine's "Person of the Year" pick, and to mostly-white DEI panels. This opus is made possible, in part, by KVNO-FM.
What if Jesus were Black? How would that change the narrative behind his story, and the music that has been written about him? Garrett unpacks this with Adrian Dunn, who's the composer behind a new work called "Black Messiah". Scott shares his thoughts on a new Mozart video game, the music of Michael Abels, and helps Garrett identify the joint, very intentional Euro-centricity that is foundational to America's understanding of Christmas and so-called classical music. This opus is dedicated to the incredible work of arts administrator and arts activist, Quanice Floyd.
Donna Walker-Kuhne's book, "Invitation to the Party", has been a tool that arts organizations of all kinds have used to better understand what community engagement really means. She joins Garrett to talk about this, audience development, and how the teachings of Daisaku Ikeda have inspired her continued work. Scott delivers the story of "Blind Tom" Wiggins, and the guys end with a response to the National Philharmonic, and a discussion about reaching a "broader" and "wider" audience with your content.
Anthony Davis' career has been marked by his musical responses to the Black experience, with critically acclaimed compositions about the life and times of Malcolm X, the murder of George Floyd, and one of his own experiences with police in a work called "You Have The Right To Remain Silent." He won the 2020 Pulitzer Prize in Music for his composition portraying the story of the Central Park 5, and he joins Garrett to talk about it. Scott unpacks Pulitzer Prize-winning music by other Black composers, and the guys offer words of encouragement (and warning) as the holiday season commences.
In 2017 composer Tyshawn Sorey teamed up with writer Terrance Hayes and tenor Lawrence Brownlee to create a song cycle called "Cycles of My Being". It's a work that showcases the troubled relationship between America and its Black men that will have its digital premiere on the Opera Philadelphia Channel on November 20th. Tyshawn speaks with Garrett about this, and his broader perspective on writing Black-centric music. Scott honors the space-age music of another Black composer, and Garrett teases a move away from Minnesota.
The Gateways Music Festival is one of only a few classical music gatherings that center Black people, making it a very important part of the industry for countless musicians. The man who's taken up the responsibility of documenting those gatherings through photography is violinist David Caines Burnett. He talks with Garrett about how classical music's relationship with race has evolved over the decades, and why we keeps "records" - in more ways than one! Garrett and Scott honor the late Alex Trebek with a mini-round of Jeopardy!, and offer their responses to this year's election results.
Have you ever thought about the relationship between corporate money and equitable arts initiatives? Percussionist Sidney Hopson has dedicated his career to convincing for-profit institutions that investing in the arts for Black and brown communities can impact their bottom line in a positive way. He speaks with Garrett about this, and lots more! Garrett and Scott remind you that music is not an escape with a few very timely selections, and former manager of Classical Minnesota Public Radio gets a special shout-out.
This opus is dedicated to Kansas City's KJ Brooks, and his made possible, in part, by Derek Menchan and BluKlok Records.
When Wayne Shorter tragically lost his wife in an airplane crash, he vowed to live an even happier life with the help of an ancient philosophy: Nam Myōhō Renge Kyō. He talks with Garrett about Buddhism, what it means to find "zero gravity", and what it means to make allies out of demons and devils. Johnathan Gibbs is the special guest co-host, and helps Garrett tackle the topics of #EndSars, the MET's inability to pay its musicians, and more. In the final movement, the guys re-address Daniel Elder and "Keith".
Ensemble Pi has operated at the intersection of music and social justice since 2015, and in an upcoming concert the group will tackle the need for Black reparations head on! Allison Loggin-Hull talks to Garrett about "The Pattern", which is a piece of music she wrote specifically for this virtual performance. The ensemble's pianist, Idith Korman, offers her thoughts and experiences as both a musician who centers social justice, and the recipient of Jewish reparations. Garrett and Scott honor the legacy of the late John Brim, and the guys respond to an anti-racist statement made by WUOL-FM.