Of the 370,000 African-American troops that hearing these bands in Paris. served during the war, about 40,000 served in American combat divisions, many of which established Black regimental bands returned home in 1919, their own regimental bands. and went on to take American audiences by Originals storm. “We won France by playing music which Unlike traditional Army bands, the legendary New was ours and not a pale imitation of others, and York 369th Infantry “Hellfighters” Regimental if we are to develop in America we must develop 1918 Band led by Lt. James Reese Europe, entertained along our own lines,” said Europe, whose landmark troops and civilians by performing original works 1919 recordings on Pathé Records include W.C. in a ragtime style, including “Hey There!” with Handy’s “Memphis Blues”, and “Strutter’s Ball” “The war to end all wars” ended on November its infectious syncopation and high-energy flair. by Shelton Brooks, which are among the very 11, 1918, but in many ways, that date also “All of France contracted ‘ragtimitus’ thanks to first wildly popular jazz standards. marks the beginning of America’s cultural Jim Europe,” quipped fellow bandmate and singer awakening. Within the decade following Noble Sissle, who later wrote the smash hit “I’m The “Empress of Blues” Bessie Smith, another early World War I, burgeoning jazz, country, and Just Wild About Harry” along with Eubie Blake recording star, helped make a hit of “I Ain’t Got blues styles began to blossom across in their groundbreaking 1921 musical Shuffle Nobody” by Spencer Williams and Roger Graham in the nation: styles that would bear fruit Along. The 350th Field Artillery Regiment “Black 1925, but is best known for the fearless strength in American popular music for the Devils” Orchestra was another celebrated band, she expressed in compositions like “I Ain’t Gonna remainder of the century and define led by Timothy Brymn. His “Cocoanut Grove Jazz” Play No Second Fiddle”, sung here powerfully by our shared musical ethos. One of the shifts musical gears between swing, ragtime and Rhiannon Giddens. Bessie Smith was frequently few positive things to come out of this boogie-woogie, like a Rosetta Stone of jazz style. accompanied by ragtime piano virtuoso James P. horrific war was the US Army’s embrace It is no wonder that composers like Stravinsky, Johnson, an often overlooked genius of the era. of African-Americans, which despite shameful Ravel, Poulenc and Milhaud were inspired to Johnson teamed up with lyricist Cecil Mack, an treatment, ultimately created new opportunities create jazz compositions of their own after alumnus of both Brymn’s and Europe’s bands, to for all black Americans, especially musicians. compose the most famous song of the jazz age, Irving Berlin’s beloved patriotic classic God Bless Like jazz, country music has its roots in the It is always a joy to work with the remarkable Charleston, presented here as a showpiece for America, George M. Cohan’s iconic march “Over years between the wars and owes much of its musicians of the Cincinnati Pops Orchestra orchestra and tap dancer Robyn Watson. There,” and Walter Donaldson’s “How Ya Gonna early pedigree to folk music and blues, typified and the exceptional artists who helped shape Keep ‘em Down on the Farm” also inspired soldiers in the artistry of Jimmie Rodgers, whose “Prairie this project from beginning to end. We are all We cannot forget the contributions to the early in both World Wars, and on this recording they Lullaby” is sung with swagger on this recording deeply touched and awed by the composers jazz scene by Will Marion Cook, who gave Duke were given richly inventive settings by arranger by Pokey LaFarge. Pokey also sings “Night Owl” and performers of a century ago whose work we Ellington his first composition lessons, and Rob Mounsey. Brilliant American composer by Herman Hupfeld, best known for “As Time Goes celebrate in this recording; their struggles and wrote the first, full-length, all African-American Peter Boyer created a new work, “In the Cause By” from the film Casablanca. The sensational brilliance inspired us in equal measure. production on Broadway, In Dahomey. “Swing of the Free”, featuring Pops Principal Trumpet Steep Canyon Rangers give us a splendid ren- Along” was not only the show’s big hit, but Robert Sullivan, to honor those thousands of dition of Irving Berlin’s “Remember” and provide served as an anthem in the Black community young soldiers whose ultimate sacrifice over the blazing ‘encore’ of “Auden’s Train”, written for two generations, including the famed one hundred years ago helped create a more by band member Nicky Sanders and frequent ‘Tuskegee Airmen’ in the Second World War. peaceful world we all enjoy today. collaborator and banjo aficionado Steve Martin, with help from poet W.H. Auden. –John Morris Russell 5. I Ain’t Gonna Play 11. In the Cause of the Free 17. I Ain’t Got Nobody Track No Second Fiddle Peter Boyer Spencer Williams/arr. Rob Mounsey Perry “Mule” Bradford/arr. Julie Spangler Robert Sullivan, trumpet Rhiannon Giddens, vocals Rhiannon Giddens, vocals Robyn Watson, tap dancer Listing 12. Prairie Lullaby Steep Canyon Rangers, vocals and bluegrass band 6. Strutter’s Ball Billy Hill/orch. Rob Mounsey Pokey LaFarge, vocals 1. “Hello Cincinnati!” Shelton Brooks/arr. Joe Price Pokey LaFarge, vocals 18. Auden’s Train 13. I’m Just Wild About Harry 2. Hey There! 7. Night Owl (bonus track) Eubie Blake/arr. Rob Mounsey James Reese Europe/orch. Timothy Berens Herman Hupfeld/arr. Rob Mounsey W.H. Auden, Steve Martin, Pokey LaFarge, lead vocals Rhiannon Giddens, vocals and Nicky Sanders Steep Canyon Rangers, backing vocals Robyn Watson, tap dancer 3. How Ya Gonna Keep ‘em Steep Canyon Rangers, vocals and bluegrass band Down on the Farm? 8. Charleston 14. Cocoanut Grove Jazz Walter Donaldson/arr. Rob Mounsey James Tim Brymn/orch. Timothy Berens Steep Canyon Rangers, vocals and James P. Johnson/arr. Rob Mounsey bluegrass band Robyn Watson, tap dancer 15. Memphis Blues 4. Over There 9. Swing Along W.C. Handy/arr. Rob Mounsey Pokey LaFarge, vocals George M. Cohan/arr. Rob Mounsey Will Marion Cook/arr. Rob Mounsey Rhiannon Giddens, vocals 16. Remember 10. God Bless America Irving Berlin/arr. Rob Mounsey Irving Berlin/arr. Rob Mounsey Steep Canyon Rangers, vocals and bluegrass band Singer-songwriter Rhiannon Giddens is the “Birmingham Sunday” and the Staple Singers’ co-founder of the Grammy Award-winning well-known “Freedom Highway,” from which string band Carolina Chocolate Drops, in which the album takes its name. she also plays banjo and fiddle. She began gaining recognition as a solo artist when she Giddens has performed for President Obama stole the show at the T Bone Burnett-pro- and First Lady Michelle Obama, appeared on duced “Another Day, Another Time” concert at The Late Show, Austin City Limits, Later…with New York City’s Town Hall in 2013. The elegant Jools Holland, and both CBS Saturday and Sun- bearing, prodigious voice and fierce spirit that day Morning, and she has dueted with country brought the audience to its feet that night are superstar Eric Church on his powerful anti-rac- also abundantly evident on Giddens’ critically ism song “Kill a Word” (including performing acclaimed solo debut, the Grammy-nominated the song on The Tonight Show and the CMA album Tomorrow Is My Turn, which masterfully Awards, among other programs). In 2017, Gid- blends American musical genres like gospel, dens was awarded a MacArthur Genius Grant Rhiannon jazz, blues and country, showcasing her ex- and she has also received the BBC Radio 2 traordinary emotional range and mesmerizing Folk Award for Singer of the Year and the Steve vocal prowess. Martin Prize for Excellence in Bluegrass and Giddens Banjo. She has performed a recurring role on Giddens’ follow-up album, Freedom Highway, the television drama Nashville, playing the role was released in 2017. It includes nine original of Hanna Lee “Hallie” Jordan, a young social songs Giddens wrote or co-wrote along with a worker with “the voice of an angel.” traditional song and two civil rights-era songs, Pokey LaFarge strives to make sense of all the reputation as a tireless, uniquely charismatic trouble he’s seen and trouble he’s been in. This live performer, winning a loyal international is the Great Why of his unending passion for fan base that regularly packs his rousing, songwriting. Each chord, each riff shades celebratory live shows. the stories he sets up in his lyrics, always in search of the purest truth within forlorn and “Americans love to reinvent themselves, but haunting melodies. you can never really get away from the place that you come from,” he says. “And in a global- The St. Louis-based singer, songwriter and ized world, I think that there are some parts multi-instrumentalist draws from a deep of our regional identity that we should hang well of American musical traditions to create onto and cherish. I do buy into that old idea of Pokey distinctively personal music that’s timeless the Midwestern work ethic, and it’s definitely rather than retro, transcending the confines something that’s been passed down through of genre in a manner that reflects the artist’s my family and something that I feel connected LaFarge openhearted attitude. to, and it influences the way I approach mak- ing music.” Incorporating elements of early jazz, ragtime, country blues, Western swing, and beyond, A musician, a storyteller, a narrator of the LaFarge has created a vibrant, deeply expres- messy, unkempt American experience…Pokey sive body of work that embodies an expansive LaFarge sits, he watches, he writes. Every- musical vision and vivid storytelling sensibili- thing that’s worth happening is in his songs. ty that are wholly his own. He’s also earned a Grammy Award-winning Steep Canyon Rangers Grammy Award-winning producer Joe Henry’s effortlessly walk the line between festival traditional approach toward recording. The Steep Canyon favorite and sophisticated string orchestra. band soon discovered that their producer– They’re as danceable as the most progressive, along with engineer/mixer Jason Richmond– party-oriented string band, and equally com- intended to record all six members singing and Rangers fortable translating their songs for accompa- playing in a room with no overdubs. The organ- niment by a full symphony. ic process allowed the Steep Canyon Rangers to work fast, tracking a dozen songs in just It’s that mix of serious chops and good-natured three-and-a-half days. It is an undeniable fun that earned the Steep Canyon Rangers the milestone on the Rangers’ creative journey. Grammy Award for Best Bluegrass Album in 2013 (for Nobody Knows You) and that drew Steep Canyon Rangers are easily among the celebrated comedian/banjoist Steve Martin hardest working bands in any genre, pulling to them when he needed a backing band. The double duty on their own and as collaborators Rangers are world-class musicians who are with Steve Martin. As they approach their just as at home taking the stage at Carne- second decade, Steep Canyon Rangers are gie Hall as they are knee-deep in a mountain still moving forward, searching for new hori- brook, fly rod in hand. zons and musical vistas. “We’re just getting started,” guitarist/lead vocalist Woody Platt In July 2017, Steep Canyon Rangers arrived at exudes. “It’s almost daunting, to think about Fidelitorium Recordings, an intimate studio how much more there is that we want to ac- facility built, owned, and operated by legend- complish as the Steep Canyon Rangers. Each ary producer Mitch Easter. Out in the Open is time I get off stage, I ask myself, ‘Was that the Rangers’ bravest excursion thus far, tran- fun? Did that feed your soul?’ That’s how we go scending bluegrass while also getting closest about it, and more times than not, the answer to the genre’s true form thanks to three-time is a resounding ‘Yes.’” Robyn Watson is a native of Philadelphia and Robyn has recently begun performing with began dancing at the age of five. She began her singer/musician Rhiannon Giddens. For the training at La-Cher-Tari Dance Studio and later past eight years she has had the opportuni- trained at Wissahickon Dance Academy. By the ty to work and study under the direction of age of 10 she was asked to join Tap Team Two Savion Glover and in 2016 she served as the tap and Co. and served as a member and choreog- instructor for the Broadway sensation Shuffle rapher until 2002. She has had the opportunity Along. Besides being a professional dancer, to perform with noted artists in the discipline, Robyn Watson also is a talented photographer including Dianne Walker, Germaine Ingram, and writer. Robyn Watson Savion Glover and the legendary Mabel Lee. Watson was featured in the May/June 2005 issue of Dance Spirit magazine as one of “20 Hot Tappers, 20 and Under.” Watson received her B.A. in Theater from Temple University. She has also served as a costume designer for several high schools and production compa- nies in the Philadelphia region. Consistently winning international praise for claimed Broadway, film and television artists his extraordinary music-making and vision- including Leslie Odom, Jr., Idina Menzel, Vince John ary leadership, this Ohio native is also Music Gill, Sutton Foster, Branford Marsalis, Gregory Director and Principal Conductor of the Hilton Porter, Brian Stokes Mitchell, Megan Hilty, Lea Morris Head Symphony Orchestra in South Carolina Salonga, Michael McDonald, Amy Grant, Brian where Mr. Russell’s commitment has yielded Wilson, Katharine McPhee, Rhiannon Giddens, Russell a new level of artistic excellence. He has also Rosanne Cash, Edward James Olmos and Mar- served as the Principal Pops Conductor of the vin Winans. A remarkable artist with boundless enthusi- Buffalo Philharmonic since 2015. A popular asm for music-making of all kinds, John Morris guest conductor throughout the United States A sought-after guest conductor across the Russell is a modern conductor who engages and Canada, he also holds the title of Con- continent, Mr. Russell returned to the Holly- and enthralls audiences with the full breadth ductor Laureate with the Windsor Symphony wood Bowl in 2014 to conduct the Los Angeles of the orchestral experience. Conductor of Orchestra in Ontario, Canada, where he served Philharmonic for a trio of concerts. Other re- the Cincinnati Pops since 2011, Mr. Russell’s as Music Director for 11 years. cent engagements include the National Sym- diverse programming and electric stage pres- phony Orchestra on the West Lawn of the U.S. ence have infused new creativity and energy With the Cincinnati Pops, Mr. Russell regularly Capitol in 2017, the New York Philharmonic, into one of the world’s most iconic orchestras. leads sold-out performances at Cincinnati’s Dallas Symphony Orchestra, Utah Symphony, The Pops has released four celebrated com- Music Hall. Additionally, he conducts the Pops Toronto Symphony Orchestra, Cleveland Or- mercial recordings so far during his tenure and at the Riverbend Music Center and in concerts chestra and Vancouver Symphony Orchestra, introduced the American Soundscapes online throughout the Greater Cincinnati region and among many other ensembles. video series. Mr. Russell has also led the Pops on tour. Mr. Russell has collaborated with gen- on tours to Florida in 2014 and Asia in 2017. erations of great performers including the late Aretha Franklin, Ray Charles, and Rosemary Clooney, as well as an impressive list of ac- Cincinnati Pops Orchestra

The Cincinnati Pops, which also performs as The growing list of celebrated artists who have The Pops tours nationally and international- An estimated 30 million people have viewed the Cincinnati Symphony Orchestra, is un- collaborated with the Pops include Ella Fitzger- ly, most recently in Shanghai and Taiwan for national telecasts of the Cincinnati Pops der the direction of John Morris Russell and ald, Frederica von Stade, Doc Severinsen, Henry acclaimed performances in March 2017 and on PBS, and the Orchestra has more than presents a diverse array of musical styles, Mancini, Aretha Franklin, Audra McDonald, Mel Florida for holiday season performances in 100 available recordings, 55 of which have all bathed in the world-renowned “Cincin- Tormé, Kristin Chenoweth, Jennifer Holliday, December 2014. The Pops traveled to Beijing appeared on the Billboard charts, a record nati Sound.” The Pops was officially founded Vanessa Williams, Dave Brubeck, The Temp- as part of the Opening Festivities of the 2008 unmatched by any other orchestra. The Pops’ in 1977 by Erich Kunzel, and just since 1980, tations, John Williams, Idina Menzel, Smokey Summer Olympic Games, and in 2005, the Pops Copland: Music of America won a Grammy in the Orchestra has sold ten million recordings Robinson, Rosemary Clooney, Mandy Pat- completed a historical tour to China and Singa- 1997, and four other Pops recordings have around the globe. inkin, Arturo Sandoval, Peter Frampton, Boyz pore performing in the Great Hall of the People been nominated for Grammy Awards. II Men, Bernadette Peters, Lea Salonga, Ben in Beijing. The Cincinnati Pops was the first Folds, Rosanne Cash, and the world-famous U.S. Pops orchestra to perform in China. They Mormon Tabernacle Choir. have also dazzled enthusiastic audiences in Carnegie Hall (NY), Washington D.C., and Japan. John Morris Russell Conductor Keitaro Harada Associate Conductor Louise Dieterle Nippert & Louis Nippert Chair David G. Hakes & Kevin D. Brady Chair

Erich Kunzel Founder and Conductor Laureate Gene Chang Assistant Conductor Cincinnati Pops Orchestra

FIRST VIOLINS VIOLAS HARP CONTRABASSOON PERCUSSION Timothy Lees Christian Colberg Gillian Benet Sella Jennifer Monroe David Fishlock Concertmaster Principal Principal Principal Anna Sinton Taft Chair Louise D. & Louis Nippert Chair Cynthia & Frank Stewart Chair FRENCH HORNS Susan S. & William A. Kathryn Woolley Paul Frankenfeld* Elizabeth Freimuth Friedlander Chair Acting Associate Concertmaster Grace M. Allen Chair FLUTES Principal Michael Culligan* Tom & Dee Stegman Chair Julian Wilkison** Randolph Bowman Mary M. & Charles F. Richard Jensen Charles Morey† Marna Street Principal Yeiser Chair Morleen & Jack Rouse First Assistant Concertmaster Principal Emeritus Charles Frederic Goss Chair Thomas Sherwood* Chair James M. Ewell Chair++ Rebecca Barnes§ Amy Taylor† Ellen A. & Richard C. Eric Bates Stephen Fryxell Jane & David Ellis Chair Berghamer Chair RHYTHM SECTION The Cincinnati Pops Orchestra is grateful to Anne Heldman, Second Assistant Concertmaster Li Li† Henrik Heide* Patrick Hodge** Julie Spangler, keyboard Nicholas Tsimaras– Denisse Rodriguez-Rivera Sweeney Family Chair in James P. Thornton Chair Peter G. Courlas Chair++ Steven Rosen PICCOLO memory of Donald C. Timothy Berens, guitar along with Otto Budig and John and Suzanne Bossert, Anna Reider Melinda & Irwin Simon Chair Joan Voorhees Sweeney Matthew Zory, electric bass Dianne & J. David Joanne Wojtowicz Patricia Gross Linnemann Chair Lisa Conway Marc Wolfley, set Rosenberg Chair Christiana Reader# Susanne & Philip O. Geier, for their generous support of this project. Mauricio Aguiar§ Dee Sparks# OBOES Jr. Chair ORCHESTRA PERSONNEL Serge Shababian Chair Dwight Parry Duane Dugger Paul Pietrowski Minyoung Baik CELLOS Principal Mary & Joseph S. Stern, Jr. Director James Braid Ilya Finkelshteyn Josephine I. & David J. Chair Rachel Kilgore Marc Bohlke Chair given Principal Joseph, Jr. Chair Charles Bell Assistant Manager The Cincinnati Pops Series Sponsor is PNC. by Katrin & Manfred Bohlke Irene & John J. Emery Chair Richard Johnson Michelle Edgar Dugan Daniel Culnan* Donald & Margaret TRUMPETS LIBRARIANS Rebecca Kruger Fryxell Ona Hixson Dater Chair Robinson Chair++ Robert Sullivan Mary Judge Gerald Itzkoff Norman Johns** Lon Bussell* Principal Principal Jean Ten Have Chair Karl & Roberta Schlachter Rawson Chair Lois Klein Jolson Chair Producer for Sonarc Music: Live Monitors Engineer: Lois Reid Johnson Family Chair ENGLISH HORN Douglas Lindsay Christina Eaton* Anne G. & Robert W. Matthew Lad§ Christopher Philpotts Acting Principal Matthew Gray Elaine Martone Michael Meuché Dorsey Chair++ Marvin Kolodzik Chair Principal Jackie & Roy Sweeney Assistant Librarian Sylvia Mitchell Susan Marshall-Petersen Alberta & Dr. Maurice Family Chair Jo Ann & Paul Ward Chair Laura Kimble McLellan Chair++ Marsh Chair++ Steven Pride STAGE MANAGERS Producer for Fanfare Cincinnati: Recording Production Assistant: Luo-Jia Wu Hiro Matsuo Otto M. Budig Family Ralph LaRocco, Jr. Theodore Nelson CLARINETS Foundation Chair++ Technical Director Sam Strater Gene Chang SECOND VIOLINS Kenneth & Norita Aplin Ralph Skiano Christopher Kiradjieff Brian P. Schott Gabriel Pegis and Stanley Ragle Chair Principal Robert Junk Principal Alan Rafferty Emma Margaret & Irving D. TROMBONES Al Levinson Chair Ruth F. Rosevear Chair Goldman Chair Cristian Ganicenco Recording, Mix, and Mastering Engineer: Thanks to Audio Engineering Associates & Royer Yang Liu* Charles Snavely Ixi Chen Principal Michael Bishop, Five/Four Productions, Ltd. Harold B. & Betty Justice Chair Peter G. Courlas–Nicholas Vicky & Rick Reynolds Chair Dorothy & John Hermanies Labs for the loan of their unique microphones Scott Mozlin** Tsimaras Chair++ in Honor of William A. Chair Henry Meyer Chair Friedlander Joseph Rodriguez** Kun Dong BASSES Benjamin Freimuth*† Recording Editor: used in the recording of these concerts. Cheryl Benedict Owen Lee Robert E. & Fay Boeh Chair++ BASS TROMBONE Drake Crittenden Ash§ Principal Peter Norton Thomas C. Moore, Five/Four Productions, Ltd. Rachel Charbel Mary Alice Heekin Burke BASS CLARINET Art Direction and Booklet Design: Ida Ringling North Chair Chair++ Ronald Aufmann TUBA Chiun-Teng Cheng‡ James Lambert* Christopher Olka Steve Kinney Stefani Matsuo Matthew Zory, Jr.** BASSOONS Principal Live Front of House Engineer: Chika Kinderman Trish & Rick Bryan Chair William Winstead HyeSun Park Wayne Anderson§ Principal TIMPANI Ralph LaRocco Paul Patterson Boris Astafiev Emalee Schavel Chair++ Patrick Schleker Cover Illustration: Charles Gausmann Chair++ Ronald Bozicevich Hugh Michie Principal Stacey Woolley Rick Vizachero Martin Garcia* Matthew & Peg Woodside Brian Stuparyk/Steam Whistle Letterpress Brenda & Ralph Taylor Chair++ Chair Zhe Deng# Richard Jensen* Lisa Kim# Morleen & Jack Rouse Chair Youjin Na# Heidi Yenney# § Begins the alphabetical listing * Associate Principal † One-year appointment ++ CSO endowment only Funded by the Rhiannon Giddens appears courtesy of players who participate in a Andrew W. Mellon Foundation system of rotated seating within ** Assistant Principal ‡ Leave of absence of Nonesuch Records the string section. # Substitute Musician © 2018 Fanfare Cincinnati