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Strings of Identity and Introspection: An Interview with Guillermo Marigliano

Guillermo Marigliano

Guillermo Marigliano’s musical path is as intricate and expressive as the phrasing that defines his work. With over thirty years spent composing, performing, and mentoring across continents, the Argentinian-born, Los Angeles-based guitarist reflects on his evolving artistry in this wide-ranging conversation. From the emotional weight of his solo acoustic project to the rhythmic insights shaped by teaching worldwide, Marigliano discusses what it means to create with purpose while carrying the soul of his roots.

In this interview, he speaks with clarity and warmth about the transition from ensemble performance to introspective solo work, the nuances of improvisation for newcomers, and the interplay between his many creative hats.

You’ve dedicated over three decades to composing, performing, and teaching music across continents. How has your Argentinian heritage continued to shape your creative instincts since relocating to Los Angeles?

My Argentinian heritage continues to be a huge influence on my creative instincts, even after a few years of living in Los Angeles. I grew up immersed in a rich musical culture — from tango and folklore to jazz and latin music — and that emotional depth and rhythmic nuance still shape how I play, compose, and even teach. Here in L.A., surrounded by so many global sounds, I’ve found new ways to blend that foundation with other influences. That sense of identity comes through in my phrasing, my harmonic choices, and the way I approach improvisation.

Whether I’m composing, performing, or teaching, that Argentine spirit of soulful expression and rhythmic complexity travels with me. It helps me connect with diverse audiences and students on a deeper level, bringing authenticity and a global perspective to my music

Your solo guitar project set for release in 2025 focuses on introspective themes through Spanish acoustic guitar and Latin American grooves. What led you to explore more reflective terrain this time around?

This new project grew out of a very personal place. After years of performing energetic, rhythm-driven music, I never left the Spanish guitar. This instrument represents the soul of the Latin American music, felt a strong pull to slow down and express myself more in a solo situation rather than within a band. The Spanish acoustic guitar naturally lends itself to that kind of intimacy — it allows space, silence, and nuance to breathe. I’ve also been reflecting a lot on my journey: relocating, adapting to a new culture, and growing both as an artist and a person. The Latin American grooves are still there, but they support a more introspective voice this time — one that’s grounded, searching, and honest. It’s music that invites the listener into a quieter, more contemplative space, and that felt like the right direction for where I am in my life right now.

Guitar Multiverse was praised for its emotional intensity and technical cultivation. What personal or musical experiences fed into the themes you explored on that album?

Guitar Multiverse was really a culmination of years of experience, musically and personally. It was written during a time of deep transition in my life, after moving to the U.S. and starting over in a new environment. That emotional intensity naturally poured into the music. Technically, I pushed myself further than ever before, drawing from jazz, classical, and Latin American traditions, but always in service of the feeling. Each piece explores a different “universe” — not just stylistically, but emotionally. Some tracks express joy and connection, others dive into solitude or longing. I wanted the album to reflect the full spectrum of human experience, and my guitar became the vehicle to travel through those inner landscapes.

Teaching seems to be as central to your life as performing. How do you keep improvisation accessible for beginners while still respecting the complexity and nuance of jazz and blues?

That’s a great question, because it really gets to the core of how I teach. I believe improvisation should feel natural and joyful — like speaking a language. So with beginners, I focus on simple musical elements first: rhythm, phrasing, call-and-response, and listening. We might start with just one note or a basic groove, and explore how much expression can come from that. At the same time, I introduce key jazz and blues concepts early — like tension and release, swing feel, or the blues scale — but always in a way that’s intuitive. My goal is to honor the depth of the tradition without overwhelming the student. That way, they build confidence and curiosity, which is really the foundation for true improvisation.

You’ve hosted masterclasses in places as diverse as Colombia, Europe and the U.S. Have those international teaching experiences changed how you relate to rhythm, phrasing, or musical expression?

Definitely. Teaching and sharing music in different parts of the world has had a deep impact on how I understand rhythm and phrasing. Each culture brings its own feel, its own sense of time and movement — whether it’s the polyrhythms I encountered in Colombia, the lyricism and articulation I heard in Europe, or the diverse grooves I find here in the U.S. These experiences have expanded my rhythmic vocabulary and made me more sensitive to how music is felt, not just played. It’s also taught me to listen more deeply — not just to the notes, but to the cultural emotion behind them. That awareness continues to shape my own expression, both as a guitarist and as an educator.

Since settling in Los Angeles, you’ve immersed yourself in both the local music scene and education spaces. How did you find your footing in a new country while continuing to nurture your creative work?

Moving to Los Angeles was both exciting and challenging. Starting fresh in a new country meant rebuilding my network from the ground up, but music gave me an anchor. I began connecting with local musicians, attending jams, and saying yes to every opportunity — from performances to teaching. At the same time, I made sure to carve out space for my own creative work. Composing and practicing became a way to stay grounded and keep my artistic voice alive amid all the changes. Teaching also helped a lot — it connected me to the community and gave me purpose. Over time, I found that L.A.’s diversity really welcomed my background and ideas, and that gave me the confidence to keep growing as both an artist and educator.

You’ve described your sound as a meeting point between Latin American rhythms and jazz harmony. What draws you to those intersections, and how do you avoid repetition when composing within that framework?

What draws me to that intersection is the natural conversation between rhythm and harmony — it’s alive, unpredictable, and full of emotion. Latin American rhythms bring this pulse that’s rooted in the body, while jazz harmony offers endless possibilities for color and movement. When they meet, it feels like a perfect balance between structure and freedom. As for avoiding repetition, I always try to stay curious. I might shift the rhythmic foundation, explore a different mode, or draw inspiration from a non-musical idea — a landscape, a memory, even a conversation. I also let the guitar lead me; its tuning, resonance, and limitations often suggest new directions. For me, it’s less about inventing something “new” and more about staying honest and connected in the moment.

As someone who wears the hats of composer, performer and teacher, do you see those roles feeding each other, or do they require entirely separate headspaces when you’re working on new material or teaching students?

I definitely see those roles as deeply interconnected rather than separate. Composing feeds my performance because it gives me a personal connection to the music I play, and performing inspires new ideas for composition through direct interaction with audiences and fellow musicians. Teaching, in turn, enriches both because it challenges me to break down complex ideas into their essence, which deepens my own understanding. When I’m teaching, I often discover new approaches or perspectives that I then bring back into my creative work. So, while each role has its own focus, they all inform and support each other in a kind of ongoing cycle.

Discover more about Guillermo Marigliano via his official website.
Interview by Amelia Vandergast.

Ben Barnett’s ‘LeeRoy’ Poured Big Band Jazz Sophistication Into Ruin Without Spilling a Drop

New Beginnings by The Ruinous Quartet

With a level of class that refuses to dim under modern spotlights, LeeRoy by The Ruinous Quartet arrives with all the cool confidence of a veteran ensemble that knows precisely when to push and when to hold. The seasoned trombonist Ben Barnett, who has etched his legacy into the walls of New York’s most hallowed jazz institutions, leads with precision, panache, and an unteachable knack for arranging chaos into sophistication.

Having graduated with honours from both Purchase College and Hofstra University, with a Grammy nomination to his name and stage time shared with the likes of Barry Harris, Arturo O’Farrill, and the Afro-Latin Jazz Orchestra, Barnett’s pedigree ensures LeeRoy is more than a nod to tradition. It is a fully animated, genre-scorching demonstration of where big band jazz can go when the right musicians are behind the wheel.

The keys sparkle with enough vivacity to summon a silver age of swing into the present day, while the percussion flickers with a contained urgency that threatens to tip the track into riotous abandon. The Ruinous Quartet live up to their name without ever losing sight of sheer elegance. The blistering drum solo carves a break in the structure sharp enough to shatter glass, yet the whole composition holds its shape with effortless poise.

The sheen of classic jazz may wrap LeeRoy in a satin glove, but the pulse underneath is pure electricity.

LeeRoy is now available to stream on all major platforms, including Bandcamp.

Review by Amelia Vandergast

Guillermo Marigliano Unites Timeworn Soul and Kinetic Jazz Innovation in ‘My New Old Friends’

Guillermo Marigliano brings a kinetic charge to the jazz tradition in ‘My New Old Friends, letting his guitar strings extend his reverence for the genre beyond the airwaves and into our cultural fabric. Fluid in his stylistic command, Marigliano traverses the shifting territories of jazz, infusing each phrase with tango tempos and South American rhythms, energising his arrangements with a warmth that never cloys. The single bleeds sentiment with intent; each note pulses with a lust for connection, allowing a blossom of newness to flourish within the classic idiom.

The polyphonic keys pulled into the arrangement prove Marigliano’s compositional instinct for innovation without erasing the roots. His decades leading projects such as ‘21st Century Latin Guitar’ and ‘New Latin Fusion Quartet’, releasing eight albums, and performing at international jazz festivals across Argentina, Chile, Colombia, Brazil, the US, and Belgium, coalesce in the refined confidence found here. As a soloist and collaborator, he has championed the fusion of jazz, tango, and Latin energy, making his output a living testament to the genre’s possibilities.

Off stage, Marigliano’s contributions run deep: composing for award-winning films, serving as an educator at ITMC, publishing authoritative guitar method books, and keeping the pulse of Los Angeles’ jazz scene alive at The Industry Café & Jazz. Now signed to The Sundial Agency, Marigliano continues to draw new connections through his playing, teaching, and creativity, cementing ‘My New Old Friends’ as a meeting point between nostalgia and discovery in contemporary jazz.

‘My New Old Friends’ is now available to stream on all major platforms, including SoundCloud.

Review by Amelia Vandergast

Zach Hodges Bottled an Atomic Glitch in Jazz Fusion Form in ‘Nuclear Muskrat’

Zach Hodges let chaos reign in Nuclear Muskrat and conducted it with a conductor’s cultivated touch and a mad scientist’s curiosity. The 19-year-old Midlands-based musician, composer, producer, and multi-instrumentalist may be early in his career, but through his LP, Baby Landmark, he’s already proven that genre loyalty is a concept best left in the past.

Hodges, known for his work as a theatre musical director for String Cheese Theatre, his position behind the kit in Midlands jazz trio Head to Head, and his international touring experience, funnelled every inch of his multidisciplinary pedigree into this 7-minute experimental tour de force. Nuclear Muskrat isn’t content to sit still—within its frenetic framework, it flexes polka funk motifs, indietronica laced with avant-garde effects, funked-up disco grooves, blues-drenched riffs, erratic polyphonic keys, and incendiary synth bursts.

While it could have been easy for this to feel like a pure act of self-indulgence, it’s easy to go along with the ride with Hodges as he demonstrates the malleability of sound in a way so seamless it is as though all of the textures, tones and tempos have always been complementary pairings. It’s as though the contemporary history of music has been condensed in the explorative mind-melter that continually pulls the rug and lays down a different one before the last footstep can land.

If you’re always on the hunt for music that challenges mediocrity, Nuclear Muskrat is the ultimate contender.

Nuclear Muskrat is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast.

Vanna Pacella Haunts with Her Soul-Steeped Indie Pop Single, ‘Wolf’

With Wolf, Vanna Pacella doesn’t just revisit the time-old tale of naivety and misplaced trust—she reconstructs it through the raw magnetism of her voice and the expressive precision of her songwriting. At 18, the Cape Cod-based singer-songwriter, pianist, and self-taught producer proves that age has no bearing on the depth of emotional insight. Wolf is a soul-stirring excavation of entrapment, emotional dependency, and the slow corrosion of identity in toxic connections that confuse devotion for destruction.

Written and produced by Pacella and her Power Trio bandmates, Tom Davis and Nick Simpson, Wolf holds its weight in every detail. The swanky piano keys drop a moody noir atmosphere over the track, while Tom’s guitar injects bold, bluesy punctuation into the heartbreak. Meanwhile, Nick’s percussive pulse carries the emotional tide with stoic force. Pacella’s voice, equal parts timeless chanteuse and conduit of contemporary soul, weaves between jazz-tinted verses and gut-wrenching admissions, wielded like the most expressive instrument known to man.

The hook, penned on Halloween and later brought to life through obsessive refinement, carves out space for layered interpretations. Lines like “I built you into home” and “I can feel the bleed of time” reflect how easily love becomes confinement, while “Oh, but I am growing cold” closes the curtain with numb finality. The song’s melodic depth is only rivalled by its lyrical scope—Wolf exists as a sobering reminder of how easily we lose ourselves while chasing comfort in chaos.

Wolf is now available to stream on all major platforms, including Spotify. 

Review by Amelia Vandergast.

JohnnyTheWidower on Pain, Performance and Purpose

Broken Piano by Johnny The Widower aka The Solar Guy

Between smoky stage setups and stripped-bare blues ballads, JohnnyTheWidower is steering independent music into a space where authenticity is the standard. In this interview, he opens up about the heartbreak-fuelled pulse of Broken Piano, the intimate electricity of his live shows, and the broader mission powering FLOWCEx Music. There’s no PR gloss or industry fluff here—just an artist building a legacy out of grief, grit, and grassroots growth. From the Kickstarter campaign that’s setting the stage for a wider movement to the way each show becomes a live-wire retelling of personal rebirth, Johnny offers a candid and compelling glimpse into what it really means to be a modern DIY artist with a message. Whether you’re new to his music or already part of the VIBE sessions, this is one read that’s worth sticking with to the final note.

Welcome to A&R Factory, JohnnyTheWidower! Your passion for raw, authentic music shines through in everything you do, from your weekly VIBE sessions to the Kickstarter campaign for Broken Piano. Let’s dig into your upcoming tour, the live experience, and what fans can expect. Broken Piano is shaping up to be a major milestone for you. With your upcoming shows, how are you bringing the album to life on stage?  

The album comes to life as a story—a journey through loss, loneliness, and heartbreak, but also resilience and rebirthBroken Piano is deeply emotional, but it also lays the foundation for my next album, JTW Come Alive, which represents that turning point—stepping out of the darkness and into light.

On stage, I want the audience to feel that transformation. The scene opens dark and intimate—a dimly lit bluesy setting with an upright piano, upright bass, drums, and guitar quartet. There’s a bottle of whiskey on the piano, shot glasses on the table, cigars in the air. That’s where I introduce “My Lady Is Gone”, the song that truly defines JohnnyTheWidower.

From there, the emotion deepens with “I Never Let Go”, the second single from Broken Piano, followed by “Be My Friend”, a song from my COVID Universe album that shifts the mood toward connection and hope.

This set isn’t just about performing songs—it’s about immersing the audience in my world, taking them through the pain, but also showing them the strength to move forward.

VIBE has been a big part of how you connect with listeners. Do you see your live performances expanding on that, or will they bring something completely different to the table?

Expansion, without a doubt. If you check out my YouTube channel, you’ll see that I’ve already started building something bigger—I’ve done two episodes of JohnnyTheWidower: The Reality Series, I host open mic events, and heck, I even do Shakespeare!

VIBE has been about connecting with listeners in an authentic way, and my live performances will only elevate that experience. The energy, the storytelling, the raw emotion—it’s all about bringing people into my world in real time.

Moving forward, I’m evolving VIBE with new segments to deepen that connection:

Musicians Speak – A platform where studio musicians and struggling band members can share their journeys, talk about their grind, and promote their work.

The Healing Power of Music – A holistic segment where we’ll meditate and explore how music can heal, uplift, and transform lives.

At the core of everything I do, whether it’s VIBE or my live performances, the goal remains the same: to create an experience that resonates, inspires, and connects people through music.

You’ve taken a hands-on approach with mixing My Lady Is Gone but are pushing for professional mastering for the album. How does performing these tracks live help you refine their final sound?

It’s all part of the creative process. Mixing My Lady Is Gone myself was an important step, but when it comes to mastering the full album, I need fresh ears on it. It’s like being a doctor—you don’t want to be the one diagnosing and treating your own condition. I’ve been hands-on with my music for years, but this time, I want outside expertise to make sure Broken Piano reaches its full potential.

For a long time, my music was stagnant, and I know that’s due to one of two things:
1️-Lack of marketing and promotion (which I strongly believe is the issue)
2️-Mixing & mastering quality (which could play a role, but I won’t know until I remove that variable)

That’s why I’m making the investment in professional mixing and mastering—to eliminate doubt and give these songs the best chance to shine.

And hey, if you know anyone who’ll do it on spec—send them my way!

Is there a particular song from Broken Piano that you think will take on a life of its own in a live setting?

Absolutely—“Somebody’s Gonna Win, Somebody’s Gonna Lose” is built for the live stage.

It’s a blues jam session at its core—loose, raw, and unpredictable. This is one of those songs that can go on and onbecause every time I perform it, it takes on a new energy. I swear, I’ve never played it the same way twice—which my guitarist loves because he gets to rock out, but my drummer and bassist? Not so much.

But that’s the beauty of it. In a live setting, this song breathes—it becomes its own thing. And the audience feels that freedom, that spontaneity, that real musicianship happening in the moment.

When Broken Piano hits the stage, this track is gonna be a show-stopper.

 With FLOWCEx Music in motion, do you see your upcoming gigs as a platform for showcasing other artists under your wing, or will the focus be on cementing your own presence first?

I’m only as good as my roster—my team. My project is out front right now because it was the most cost-effective wayto set the stage for FLOWCEx Music.

Since September 2024, I’ve produced:

 Two full albums (8 tracks each) on myself

 A 10-track compilation featuring 8 different artists

If I had tried to launch with another artist first, I’d still be working on one album—and I would have spent twice as much already.

This was strategic—I needed to establish the standard, create the blueprint, and launch a promotional campaign that will eventually filter other artists through the pipeline.

So when I perform, if my artists are available, they’re on that stage with me. Every time. Because FLOWCEx Music is bigger than just me—it’s a movement.

You’ve got the Kickstarter running alongside the tour. How much has the crowdfunding experience shaped your approach to engaging with fans?

Right now, my touring is local out of practicality—we’re a startup label, so I’m not booked on a national tour… yet. But that doesn’t mean I’m not making strategic moves to expand my presence.

I perform regularly at Kingston Public House, a whiskey bar in Brooklyn, and this spring/summer, I’ll be hitting Prospect Park at the BandShell.

Beyond that, as the creator of Performing Artists in Real Estate—a group of artists who also sell real estate—I’ll be performing at our monthly mixers, tapping into a network that blends business, art, and entertainment.

And I’m always on the hunt for bigger stages. I plan to throw my name in the hat for opening slots at major venues like The Barclays Center, Billie Holiday Theatre, Madison Square Garden, and Brooklyn Academy of Music.

That’s where the Kickstarter and marketing push come in. This campaign—and interviews like this—aren’t just about funding. They’re about building visibility and momentum. The more people engage with my movement, the more leverage I have to secure bigger opportunities and bring FLOWCEx Music to a wider audience.

What’s the one thing you want people walking away from your shows feeling—whether they’re hearing you live for the first time or they’ve been following you since day one?

Music is meant to make you feel good—but nowadays, a lot of it vibrates at an aggressive frequency. When you come to my show or listen to my music, I don’t want you to feel aggressive—I want you to feel happy, warm, loved, inspired, amused, and thoroughly entertained.

I want to make you smile and cry at the same time. I want to tell a story that keeps you riveted, one that stays with you long after the last note fades.

Most importantly, I want my audience to feel loved. When I cook for people, I do it with love—choosing the best ingredients for the most flavorful outcome. I approach music the same way. Every lyric, every melody, every performance—it’s all crafted to nourish the soul.

That’s what I want people walking away with—an experience they’ll never forget.

Beyond the gigs lined up now, what’s the bigger vision for your career? 

My bigger vision is to run FLOWCEx Music as a full-fledged independent label. Right now, I’m out front, performing and pushing the movement, but ultimately, I want to fall back from constant gigging and shift my focus to mentorship, artist development, and strategic growth for the label.

The young, hungry artists on my roster? I want them gigging non-stop. That’s what they want, and that’s what I want for them. My job is to make sure they have the right opportunities, the right support, and the right platform to shine.

At my core, I’m a builder and a guide. I’ve walked this path, I know the struggles, and I want to pave the way for the next generation. FLOWCEx Music isn’t just about me—it’s about creating a legacy of independent artists thriving on their own terms.

Stream JohnnyTheWidower’s latest single on Bandcamp now.

Interview by Amelia Vandergast

BOMiN’s ‘Mirror’ Holds Listeners in a Chokehold of Bittersweet Reverie

BOMiN’s seminal single Mirror from her sophomore EP, Again, by Accident, delivers a filmic piano ballad while commanding attention with an emotive energy rarely found in the genre. The chanteuse vocal lines beguile the seraphic piano keys, creating an intoxicating contrast between fragility and power. The brass section and basslines rise like a tide, lifting the melancholy from the piano and vocals, allowing the composition to wade between sorrow and solace without ever losing its elegance.

BOMiN’s versatility as a jazz pianist, composer, and arranger has led her across some of the world’s most revered stages, from Seoul to New York, where she has performed at Nublu, Williamsburg Music Center, and Silvana Harlem. As a collaborator, she has worked with the UN Symphony Orchestra and played alongside artists like AKMU and Sam Ock.Her academic background, including a Master’s in Jazz Studies from the Manhattan School of Music, has been complemented by prestigious accolades like the ASCAP Foundation AAPI Songwriter Scholarship.

With Mirror, she continues to redefine the intersection of jazz and contemporary pop. The precision in every note ensures that no second of its runtime is wasted—each meticulously placed shift in instrumentation brings a cathartic resolve, making it impossible to pull away.

Stream the Again, by Accident EP on Spotify now.

Review by Amelia Vandergast

Seungmin Jung’s ‘Acadia’ Smokes Out Complacency with Sophisticated Jazz Fluidity

For 12 minutes, Seungmin Jung and his virtuosic ensemble take easy listening jazz and give it a smoky revival with Acadia, a composition that reaches the epitome of fluidity. The time signatures refuse to leave room for complacency, locking listeners into a state of mesmerised anticipation. It’s textural tonal alchemy at its finest—low reverberating basslines create a striking contrast against ascending brass notes and the ornate chimes of piano keys, threading together a soundscape as suave as a tailored suit.

Jung’s journey into jazz began in Seoul, where a spontaneous purchase of a double bass at 17 set the course for his future. Now based in New York, he has studied under some of the biggest names in the scene, including Buster Williams and Ingrid Jensen, earning his master’s degree from the Manhattan School of Music. His career has seen him grace renowned venues from Korea’s Giwon Art Museum to Dizzy’s Jazz Club in New York, and his talent has been recognised with a second-place win at the Hyunsik Kim competition.

Acadia showcases a musician who understands the elegance of timeless jazz while fearlessly pushing its parameters. Jung orchestrates moments of undeniable intrigue, making every shift in tempo feel like a deliberate seduction.

Stream Acadia on YouTube now.

Review by Amelia Vandergast

James Austin Melton Strips Jazz to Its Core and Rebuilds It with ‘Adaptive Fiction’

James Austin Melton

James Austin Melton may still be breaking ground in the jazz scene, but Adaptive Fiction proves he’s set to shake the foundations. His intricate, classically influenced guitar style intertwines seamlessly with a cinematically smoky brass section, creating a deeply rooted and refreshingly unrestrained sonic signature.

The single is catharsis in melodic motion. As the Latin-esque guitars set the groove, the energy only intensifies with the arrival of Melton’s soul-imbued vocals, soaring above the instrumentation with effortless conviction. The production strips jazz to its core and rearranges it with a vision that few would dare to share, yet every note remains as accessible as it is sanctifying.

A musician, educator, and writer, Melton approaches his craft with the kind of thoughtfulness that turns compositions into experiences. His discography is quickly shaping into a sanctuary of sound, offering respite from the noise with arrangements that challenge convention without ever alienating the listener.

With Adaptive Fiction, Melton reaffirms that jazz isn’t just alive—it’s still evolving in ways that demand attention.

Adaptive Fiction is now available to stream on all major streaming platforms, including Spotify.

Review by Amelia Vandergast

The Siren of Jazz, Ippi Roy, Hits Every Note with Effortless Elegance in ‘Dat Dere’

Ippi Roy proves she’s a soulfully sublime force to be reckoned with in the jazz scene with her latest single, Dat Dere. Laying her expressively rich vocals atop swanky piano keys, she crafts a soundscape that hypnotises with its effortless grace. The keys are ornate enough to bring a neo-classic touch to the release when they’re not injecting bluesy grooves that underscore the depth of her reverent connection to aural expression.

With an extended piano solo, there’s plenty of opportunity to lose yourself in the instrumental panache before Roy’s vocals return, carrying even more impassioned zeal. Her voice has all the power needed for international stages rather than a smoky jazz bar, and if Dat Dere is anything to go by, it won’t be long before the rest of the world catches up.

From her early days fronting Delhi-based blues outfit Big Bang Blues to making waves across India’s festival circuit, Roy has long been making her mark. With a jazz degree from the prestigious University of North Texas and accolades like the Paris Rutherford Jazz Leadership Award, she’s now navigating the US jazz world with a reputation that’s impossible to ignore. Dat Dere is just another step towards the recognition she deserves.

Dat Dere is available to stream on all major platforms, including Spotify.

Review by Amelia Vandergast