Valerie Coleman, celebrated composer, flautist, and founding member of the groundbreaking Imani Winds, has transformed the landscape of wind quintet repertoire. Her compositions, such as the vibrant Red Clay & Mississippi Delta, draw deep inspiration from her Southern heritage and the soulful blues traditions of the region.

Coleman's musical journey began in Louisville, Kentucky. After distinguished studies in performance, she embarked on a career that would see her excel as a performer and emerge as a significant voice in composition. Her achievements are numerous: she was named Performance Today's 2020 Classical Woman of the year and listed as "one of the Top 35 Women Composers" in the Washington Post. In 2019, her orchestral work, Umoja, Anthem for Unity, marked a historic moment - the first classical work by a living African American woman to be commissioned and premiered by the Philadelphia Orchestra.

In 1997, Coleman co-founded Imani Winds, a woodwind quintet dedicated to expanding the repertoire and breaking down barriers for musicians of colour in classical music. Their commitment to commissioning new works and exploring diverse musical styles has earned them widespread acclaim, including a Grammy Award.

Red Clay & Mississippi Delta is a testament to both Coleman's profound personal connection to the South and her influence on the Imani Winds sound. In this piece, she paints a vivid sonic portrait of her family's Mississippi Delta roots: the juke joints, the river life, and even the distinctive red hue of the soil. Coleman blends virtuosic improvisatory clarinet passages with the soulful language of the blues, seamlessly weaving classical technique and Southern charm.

The impact of Coleman's work with Imani Winds extends far beyond a single composition. Their dedication to new music has revitalised the wind quintet genre, inspiring other composers and bringing fresh perspectives to the classical stage. Coleman's compositions, in particular, offer a powerful exploration of cultural identity and the limitless potential of blending musical traditions.

Listen to Red Clay and Mississippi Delta

Rebekah Reid is reimagining the role of the violin in contemporary music, merging classical virtuosity with groundbreaking electronic looping and effects. Her innovative debut album, Selected Works Vol. 1, commissioned for the BBC series 28ish Days Later, ventures into uncharted musical territories, weaving complex soundscapes from the simplicity of violin strings. This collection of tracks delves into the menstrual cycle's intricacies, mirroring its cyclical nature with looping and layering techniques that echo the repetitive yet evolving patterns of life itself.

Selected Works Vol. 1 is an auditory journey through the menstrual cycle, with each piece capturing the essence of specific emotions, hormones, and moments. Rebekah Reid chose chamber music as the overarching genre for the album, aligning with the series' intimate and private themes. Focusing exclusively on the violin, Reid explores new compositional methods, from emulating a traditional string quartet to blending the violin with unexpected elements like the Moog One analogue synth in “Into the Deep”.

Reid's creative process is a testament to her adaptability and innovation. Transitioning from live looping and improvisation to studio production, she employed a variety of techniques to mix strings, using automation, delay FX, and plugins. The result is a soundtrack that acts as a sonic backdrop to the powerful and sometimes painful topics explored in the series, offering listeners a space to empathise and connect.

The album stands out for its thematic boldness and artistic freedom, allowing Reid to interpret various themes musically in her unique way. From the gentle hums of "A Soft Space" to the rhythmic complexity achieved through delay effects in "What Life Gifts," Reid showcases her ability to blend classical and jazz harmonies, creating a rich, immersive experience.

In crafting Selected Works Vol. 1, Rebekah Reid not only challenges the conventional boundaries of violin music but also contributes to a larger conversation about the menstrual cycle, using her art as a tool for education and awareness. This album exemplifies the power of music to explore, heal, and inspire, marking a significant milestone in Reid's career as a boundary-pushing musician and composer.

Listen to “Into the Deep”

There are songs that pierce your soul, and then there are the ones that offer a balm when the wound feels too raw. Angie McMahon's "Making It Through," from her aptly titled album Light, Dark, Light Again, is the latter. With a voice as hauntingly beautiful as it is vulnerable, McMahon delves into personal darkness and the struggle to find light at the end.

The opening lines set the tone: "Morning, I woke up with the view of the moon / To untangle my shoulders, a sleepy balloon". An unexpected image, yet instantly relatable. The sense of disorientation is palpable, the world out of sync with one's inner turmoil. Yet, from here, the song becomes about defiance. The repeated refrain "I'm making it through" transforms from a plea to a statement of fact.

This isn't about saccharine optimism. McMahon acknowledges the ache, and that loss irrevocably changes us. The instrumentation mirrors this. Understated piano and synths create a sonic space as intimate as it is vast – a perfect cradle for McMahon's raw honesty. As the drums build towards the latter half, there's a sense of emerging strength, but the scars remain visible.

The brilliance of "Making It Through" lies in its refusal to offer easy answers. It celebrates survival not as a destination, but as a cyclical journey, mirroring nature's patterns. McMahon taps into the primal power of endurance: "When I grow up, I wanna be like a tree / And change with the seasons, helping people breathe".

Angie McMahon is a poet, and it shines through. Lines like "Out of ash and destruction / The ground will grow things” resonate far beyond personal loss. This is music for anyone facing rebuilding within themselves.

Whether darkness feels all-consuming, or you simply yearn for a glimpse of the light ahead, "Making It Through" is a companion. The song's ending, a series of "light, dark, light again" becomes a mantra against despair. It's a kind of song you revisit, finding new layers of meaning with each listen – both in McMahon's artistry and the enduring power of music to heal.

Listen to “Making It Through”

In just 90 seconds, Valerie Capers, a pioneering Bronx-born jazz pianist and composer, crafts a solo piano narrative that captures the spirit of jazz in "Billie's Song" from her Portraits of Jazz collection.

Valerie Capers' path in music is nothing short of inspirational. Despite losing her sight at a young age, she emerged as the first blind graduate from the prestigious Juilliard School of Music, setting the stage for a remarkable career. As both a performer and educator, Valerie Capers has demonstrated unwavering dedication to her craft, performing with her trio into her eighties. Her story is a testament to overcoming adversity, showcasing her exceptional talent and resilience.

"Billie's Song" is a musical homage to Billie Holiday, exploring the depth of emotion and narrative through Capers' composition. African American women music historian and editor of Portraits of Jazz, Helen Walker-Hill prefaces that “Billie's Song” is “a pretty ballad dedicated in fondest memory to the great lady of song, Billie Holiday. Lady Day, as she was called, had a special warmth and intensity about her style. Her singing represented an unforgettable experience, perhaps because of so, much sadness and tragedy in her personal life.” Valerie Capers' ability to convey profound emotion within the compact framework of this piece is a hallmark of her musical genius.

In addition to its rich historical and emotional depth, Portraits of Jazz by Valerie Capers presents an accessible treasure for intermediate pianists. Each piece, including “Billie's Song,” is crafted with approachability in mind, allowing developing pianists to explore the complexities of jazz with confidence. This collection not only enhances technical and expressive skills but also bridges the gap to advanced jazz repertoire, making it a valuable resource for those looking to explore the genre's breadth and depth. Portraits of Jazz invites intermediate pianists on a journey through jazz history, guided by Valerie Capers' masterful compositions.

Listen to “Billie’s Song”

Rose Parker's latest single, "Blood on the Water," is a standout track that has quickly captured attention in the music world. Fresh from her victory at the Australian Songwriters Association Awards, the Fremantle-based artist released this powerful song in October 2023. Opening with her distinctive alto vocals, the track skillfully blends dark synths with layered guitars, creating an atmosphere that's both intense and captivating. "Blood on the Water" is a statement about finding your place in the world and appreciating those who support you through life's highs and lows.

Rose Parker's lyrics in "Blood on the Water" are grounded in personal experiences and insights. She shares a lesson from her father – the impossibility of pleasing everyone – and how this realisation influenced her approach to life and music. The song is a testament to learning when to walk away, to leave behind unnecessary drama, and to trust one's instincts. It's about recognising that not every battle is yours to fight and that sometimes, the bravest thing you can do is to choose your battles wisely.

Produced with Lee Buddle’s keen ear for detail at Crank Recording Studio and co-produced by Rose Parker and David Hyams, "Blood on the Water" is a preview of what to expect from Parker's upcoming album, "Beauty and the Ashes." The song's recent accolade in the Rock Indie category at the Australian Songwriters Association Awards is a nod to Rose Parker's songwriting skills, which have been honed over a career spanning decades.

Rose Parker's musical journey is marked by resilience and authenticity. Her story, from finding solace in music during her childhood in orphanages and foster homes to becoming a celebrated figure in the Australian music scene, is a powerful narrative of perseverance and the transformative power of music. Her upcoming album, "Beauty and the Ashes," promises to be a collection of heartfelt, soulful songs that continue to tell her story and resonate with listeners across Australia and beyond. As "Blood on the Water" already shows, Rose Parker's music is not just about sound; it's about storytelling, emotion, and the indomitable spirit of the human heart.

Listen to “Blood on the Water”

The Miseducation of Lauryn Hill, the seminal album by American singer and rapper Lauryn Hill still feels as relevant as ever. Released on August 25, 1998, this album is not only Hill's solo debut but a groundbreaking work in the landscape of hip hop and neo soul.

After touring with the Fugees, Lauryn Hill's personal experiences, particularly her pregnancy, spurred the creation of this album. It was recorded mainly at Tuff Gong Studios in Kingston, with Hill collaborating closely with the musician group New Ark. The album's lyrics reflect themes of love, God, and the complexities of her life at the time, including her experiences with the Fugees.

Upon its release, The Miseducation of Lauryn Hill was a commercial and critical success, debuting at number one on the Billboard 200 chart. It broke records for first-week sales by a female artist and won five Grammy Awards, setting a new standard for women in the industry. The album's artistic range and exploration of a woman's perspective on life and love were widely praised.

This album has since been recognised as a trailblazer in multiple music genres. According to Billboard, it taught a generation the power of expressing personal truths through song, introducing emotional depth to hip hop. It paved the way for neo soul artists like Alicia Keys, Erykah Badu, and Jill Scott, essentially giving birth to the genre.

The Guardian described the album as “a high-water mark of the conscious hip-hop movement and a game-changer that provided valuable lessons for a generation of young women, both black and white.” It was a precursor to albums like Beyoncé's "Lemonade" and Janelle Monáe's "Dirty Computer," offering self-determination, self-respect, and self-knowledge.

The song “The Miseducation of Lauryn Hill” itself stands out for its poignant yet compassionate honesty. Lauryn Hill reflects over sparse beats on lessons learned from youthful missteps and hard-won triumphs. Reggae-inspired melodies carry her resonant voice and message: that through inner work and self-reconciliation we can awaken our highest purpose.

The Miseducation of Lauryn Hill stands as a testament to Lauryn Hill's extraordinary songwriting and rapping skills. Its influence extends beyond hip hop, inspiring a range of artists from different genres. The album's combination of hip hop, neo soul, and a deeply personal narrative made it a defining work of its time and a cornerstone in modern music history.

Its honest portrayal of love, heartbreak, and personal struggle resonates deeply with audiences even today, making it a timeless masterpiece—25 years later, there is still much to learn from Lauryn Hill’s “miseducation”.

Listen to "The Miseducation of Lauryn Hill"

Sarah Kirkland Snider wrote her song cycle PENELOPE in 2007 inspired by Homer's Odyssey. It dives into ideas of homecoming, memory, and who we are.

One standout piece is “Circe and the Hanged Man”. Here, Sarah Kirkland Snider blends classical and folk sounds. With rhythmic strings, percussion, and Shara Worden's touching vocals, the music tells the story of Circe meeting a lost soul from Odysseus’s crew. The tune feels like a blend of old tales, indie folk, and modern rhythm.

This mix of old and new sounds is what we love at Mirabilis Collective. Like Sarah Kirkland Snider, we enjoy blending different musical worlds. She uses traditional instruments like the harp and strings, and brings in modern vibes with electronics and drums. It’s a fresh way to experience stories through music.

What's more, Sarah Kirkland Snider brings female characters from myths into the spotlight. In “Circe and the Hanged Man”, we see a side of Circe that often gets missed. This focus on women's stories is close to our hearts at Mirabilis Collective.

Sarah Kirkland Snider shows us how music can tell age-old tales in a new light. Her work in PENELOPE, especially “Circe and the Hanged Man”, is a beautiful example of how music can cross between times and styles while touching our hearts.

Sarah Kirkland Snider recently shared more about her musical adventures on the Compose Like a Girl podcast. She dives into her creative process, the stories behind her music, and much more. It's a chance to hear straight from Snider about what drives her unique sound. We're thrilled about this sharing of musical insights and the beautiful community of female composers and musicians coming together. Give it a listen, and step further into the rich world of storytelling through music.

Listen to the Podcast

Listen to “Circe and the Hanged Man”

Fatoumata Diawara is a singer who is a testament to resilience, artistry, and cultural exchange. With a potent mix of traditional Malian music and contemporary sounds, she offers a rich tapestry that speaks to listeners worldwide. The title track of her 2018 album, Fenfo, which means "Something to Say," serves as a fitting representation of her musical and thematic range.

Fatoumata Diawara was born in Ivory Coast to Malian parents. Her life journey has been marked by both struggle and triumph, from a challenging childhood to being sent to live with an aunt in Bamako and later joining a traveling circus to escape an arranged marriage. These formative experiences fuelled her drive and creativity. Fatoumata Diawara eventually settled in Paris, launching her artistic career both in music and acting. Her debut album Fatou, released in 2011, received widespread acclaim, setting her apart as a rising star in world music.

This album showcases Fatoumata Diawara's musical versatility and her voice is mature and expressive. Collaborating with the likes of kora player Sidiki Diabaté and cellist Vincent Ségal, she touches upon various styles from Afro-pop and blues to funk. The lyrics are mostly in Bambara, with sporadic bursts of English, making the album accessible yet rooted in its cultural heritage. They cover a broad range of topics from migration and African identity to the importance of recognising the value of inter-ethnic marriages

The title track, “Fenfo”, serves as a focal point, encapsulating the album's thematic richness and musical diversity. The song’s rhythmic ebb and flow set the stage for Fatoumata Diawara's soulful vocals. Sung primarily in Bambara, the song serves as a powerful vocalisation of her life experiences, views on cultural unity, and social commentary.

Listen to “Fenfo”

Rachel Bruerville, an Australian composer, cellist, singer, and writer, has made significant contributions to the music world. From her home in Adelaide, Rachel composes for concert halls, theatres, and collaborative projects. With notable engagements like being Young Adelaide Voices' Composer in Residence and receiving commissions from organisations such as the Adelaide Symphony Orchestra, Rachel's work resonates globally.

Her piece, “Dancing on Tiptoes”, commissioned by the Hush Foundation, embodies a sense of calm and optimism. Inspired by a quote from a young person at Adelaide's Women's and Children's Hospital, it's a dance in fluctuating, so-called "irregular" time signatures, described as "happy and sunny." Part of the Hush 18 "Collective Wisdom" album, this composition aims to reduce stress in children's hospital environments and challenge the stigma surrounding mental illness.

Listen to “Dancing on Tiptoes”