Deep in the heart of Texas, the Kronos Quartet reflects on race relations and social unrest with At War with Ourselves – 400 Years of You, by composer Michael Abels and poet Nikky Finney.

For almost 60 years, the only recording on which Hasaan Ibn Ali’s piano playing could be heard was 1964’s The Max Roach Trio Featuring The Legendary Hasaan, an album for which Hasaan—one of the most enigmatic figures in all of Philadelphia jazz lore—did not receive top billing even though he wrote all the music.

Lahav Shani followed Yannick Nézet-Séguin as principal conductor of the Rotterdam Philharmonic in September of 2018 and has succeeded Zubin Mehta as music director of the Israel Philharmonic as of 2020. A concert pianist, he has also studied and played the bass professionally. WRTI’s Susan Lewis has more on the young maestro and the story of how Prokofiev's Symphony No. 5 led him into conducting.

Lahav Shani succeeded Zubin Mehta as music director of the Israel Philharmonic in 2020, and became principal conductor of the Rotterdam Philharmonic back in 2018, taking over from Yannick Nézet-Séguin. Join us on Sunday, Nov. 21st at 1 PM on WRTI 90.1 and Monday, Nov. 22nd at 7 PM on WRTI HD-2 to hear his Philadelphia Orchestra debut from March of that year.

Iconic jazz saxophonist Wayne Shorter has completed a long-held dream, an opera based on the mythic Greek character Iphigenia, with help from singer and bassist Esperanza Spalding.

The Black Music City project has announced that for a second year it will provide grants to Black creatives to produce more new artistic works inspired by Philadelphia’s rich Black music history. With additional funding being sought, it is anticipated that a total of nearly $100,000 will be awarded.

Throw on Joey DeFrancesco’s new album, More Music, and you’re met almost immediately with the sound of an organ. Of course you are; DeFrancesco’s the most celebrated jazz organist in the world—what’d you expect? But this organ, this organ player… something sounds different, more subdued—earth tones compared to the boisterous musical pastels and neons we’ve grown accustomed to hearing from DeFrancesco.