Orchestral

This work, premiered in 2022, is the second American solo flute concerto by a Black composer. In a time of cultural and civil change, this piece helps in creating a more diverse and inclusive environment for BIPOC (Black, Indigenous, and People of Color) musicians, and a richer repertoire for the orchestral community.

Brea(d)th is a classical work, inspired by the enduring presence of George Floyd the Ancestor, asking America to consider an equitable future. We come to the resilient and root-rich Twin Cities as outsiders, but we composed this work from within the walls of Black emotion, curiosity, and dignity. The piece explores a historical timeline that stretches from the pre-colonial to the present condition, and perhaps further, into a post-pandemic America. Who would we be if we used covid-19 as an opportunity to focus on both public health, *and* public healing? Our entire country has endured a trauma… how do we publicly heal?...

We all, as humans, experience separation in a variety of forms. Whether it be through the death of a loved one, a break-up, a divorce or a permanent relocation from family and friends, a parting of ways is a part of life for us all. To illustrate this musically, I chose to use the timeless words of the 13th century Persian poet, Jalāl al-Dīn Muḥammad Rūmī to convey this inevitable human experience. Each of the four movements depict moments of grief, sorrow as well hope and encouragement. Rūmī reminds us through his words that “What hurts you, also blesses you”

In January 2020, Kenneth Thompkins of the Detroit Symphony Orchestra asked me to write a concerto for him as the principal trombonist of the orchestra. He suggested a piece about the Underground Railroad since Michigan was one of the last states for enslaved persons to reach before getting to freedom in Canada. The Underground Railroad was a network of clandestine routes and safe houses established in the United States during the early- to mid-19th century. It was used by enslaved African Americans primarily to escape into free states and Canada. The piece is inspired by the many stories, accounts and experiences told by many enslaved people and abolitionists.

Dance has always been a part of any culture. Particularly in Black American communities, dance is and has been the fabric of social gatherings. There have been hundreds, perhaps thousands of dances created over the span of American history that have originated from the social climate of American slavery, Reconstruction and Jim Crow. This piece is an orchestral study of the music that is associated with the Ring Shout, the Waltz, Tap Dance and the Holy Dance. All of these dances are but a mere representation of the wide range of cultural and social differences within the Black American communities.

Profiles is a short orchestral study in three separate movements based on the late visual art of Romare Bearden. Most of Bearden’s work reflects African American culture in urban cities as well as the rural American south. Although Bearden was born in Charlotte, NC, he spent his most of his life in Harlem, New York. With its vibrant artistic community, this piece aims to highlight the rich energy and joyous sceneries that Harlem expressed as it was the hotbed for African American culture.

The theme that he and his librettist have chosen — acceptance of same-sex marriage within the black church — is a challenging one.

“The Block” is a short orchestral study based on the late visual art of Romare Bearden. Most of Bearden’s work reflects African-American culture in urban cities as well as the rural American south.

This piece traces the evolution of black people in America through the lens of the black woman.

This piece is inspired by Emma Lazarus’ gentle, welcoming words in her poem, “New Colossus”. Lush, bright harmonies in the strings are used to represent hope and unity.

This piece pays homage to my family's four generational affiliation with the Pentecostal church. My intent is to re-create the musical experience of an African American Pentecostal church service that I enjoyed being apart of while growing up in this denomination.

This piece was inspired by a journal entry from Ludvig van Beethoven’s notebook written in 1815: “Iliad. The Twenty-Second Book But Fate now conquers; I am hers; and yet not she shall share In my renown; that life is left to every noble spirit And that some great deed shall beget that all lives shall inherit.”

This piece explores African American folklore as well as Afrofuturists stories. This work is commissioned by the Sphinx Organization for its 25th Anniversary and the University of Michigan Symphony Orchestra.