The Walt Disney Concert Hall is set to begin its Eldorado Ballroom series curated by singer-songwriter Solange Knowles on Oct. 10, 12, and 13. In the spirit of Knowles’ label Saint Records, which has always spotlighted up-and-coming artists like with 2013’s compilation album Saint Heron, the new Eldorado series will give contemporary artists and artists of decades past a stage to showcase the still-growing, storied history of Black art. The three nights are Knowles’ “line up of my dreams,” an accurate description considering the eclectic gathering of artists who are connected by their continued creativity in their fields and impact, especially the performances honoring late composers.

The first performance will celebrate classical and opera works from Black musicians; the second will highlight funk, soul, and jazz; the final will honor artists who honor their faith and spirituality through music. Tickets are available now.

Subscribe to our newsletter for a chance to win a pair of tickets to the Oct. 10 show, “On Dissonance.”

Words: David Sosa

“On Dissonance” (An Evening of Classical, Symphonic, and Opera Works)

Beginning the series on Oct. 10 is “On Dissonance,” which is all about classical and opera works, specifically those from Black female composers. In particular, Julia Perry, the late classical composer and teacher, and Patrice Rushen, a contemporary jazz pianist, will be a focus for the night. Perry, whose three pieces “Short Piece for Orchestra,” “Homunculus C.F.,” and “Stabat Mater,” are part of a wider career marked by works such as her opera The Symplegades and a ballet adaptation of The Selfish Giant by Oscar Wilde. For Knowles, Perry was a groundbreaking discovery, as her work in the 20th century went against the idea that “classical minimalism was birthed by white men in 1964,” she said on her Instagram.

On top of contributions from conductor Jeri Lynne Johnson and mezzo-soprano Zoie Reams, Perry’s works are preceded by a debut of Knowles’ “Not Necessarily In Arms Reach” off her teased tuba album and Rushen playing her 1999 symphony “Sinfonia.” The title of the show, “On Dissonance,” is named after Perry’s 1960 composition, cementing the careful curation that contributed to the overall series.

“Contrapuntal Counterpoints” (Experiments in Funk, Soul, and Jazz)

Saturday, Oct. 12, is dedicated to musicians who push the envelope of genres like funk, soul, and jazz. Appropriately spearheaded by Bilal, a longtime fixture in the neo-soul scene who is among the select few artists that keep funk and jazz alive and well, the night will also feature jazz instrumentalist Cooper-Moore, bassist William Parker, and drummer/percussionist Michael Wimberly. Although a “weird” band, as described by Knowles, the room for improv and all things unpredictable is the kind of factor that will keep the crowd on their toes.

The night will also see LA duo J*DaVeY reuniting after last dropping new music nearly a decade ago, and rising R&B singer-songwriter Liv.e grace the stage alongside the Bilal ensemble.

All of the performers joining Bilal have carved out corners for themselves in their respective specialties, whether through decades’ worth of work or still-growing careers on the verge of taking off, with each and every musician knowing how to avoid genre classification. Early on, Cooper-Moore knew how to navigate from classical to free-jazz, performing in many orchestras through the years. On the opposite end, Liv.e crafted a unique blend between synthpop, R&B, and lo-fi with her last two albums, PAST FUTUR.e and Girl In The Half Pearl. All of that to say, the artists chosen are more than deserving of their spots to celebrate genre-benders like Bilal and Knowles herself.

“Glory to Glory” (A Revival For Spiritual and Devotional Art)

The final show, taking place on Sunday, Oct. 13, looks to focus on how artists express their faith and spirituality through their music, no matter the genre they occupy or experiment with. Similar to the first show, part of the evening is dedicated to the works of Mary Lou Williams, a legendary composer whose Catholic-informed music led her to work with just about any and every influential figure in jazz of the 20th century, including but not limited to Miles Davis and Duke Ellington. Her works will be performed by pianist Artina McCain and choir conductor Malcolm J. Merriweather. Also performing is the GMWA Women Of Worship Choir and organist Dominique Johnson, featuring singer-songwriter Moses Sumney.

Since the three nights are curated by Knowles, each performance and song on the schedule is personal to her, ranging from the GMWA Women Of Worship Choir performing Glenn Edward Burleigh’s “Order My Steps,” composed in her hometown of Houston, to the profound effect “Homunculus C.F.” had on Knowles when she heard it for the first time. And with the guidance of Knowles, whose own music—as well as taste in architecture and dance—is nothing short of groundbreaking each time she drops a new album, the Eldorado Ballroom concerts are the type of presentations anyone who appreciates music history, specifically Black music history, hopes to take place.

Beyond the three evenings are a multitude of other shows happening at the Walt Disney Concert Hall. Portuguese singer Mariza will take center stage on Oct. 19 as part of the KCRW series at the Hall. Classical shows are also in the near future, such as John Williams’ An Evening of Film & Music: From Mexico to Hollywood on Oct. 25. If you’re looking to spend your Halloween by haunting sounds from the early 20th century, there’s the Halloween Organ, Film & Music: Nosferatu on Oct. 31, which will bring the score to the original 1922 film to life like its titular vampire.