Grant Gershon conducted with a flexibility that made it seem as though Reid could do absolutely anything. The Memphis section ranged from soulful folk song to New Orleans jazz to a section in which American hymn took on the character of Arvo Pärt's Eastern European spiritualism. The topic was Robert Church, who went from slave to millionaire at the end of 19th century but whose legacy was later stamped out in the city's racially insensitive modernization.

Source: Los Angeles Times May 15, 2018 00:33 UTC