by Jane Lambert

VIDEO VOYAGEUR: 3 Q’S WITH KEN LOVERN

When Ken Lovern set out to create Blind Boone the Musical, he wasn’t simply writing songs. He was uncovering an overlooked chapter of American history. Through an ambitious blend of jazz, theatrical storytelling and historical research, the Kansas City composer and jazz organist is bringing the remarkable life of Missouri pianist John William “Blind” Boone to a whole new generation.

The project’s latest single, “Quindaro,” shifts the focus from Boone himself to the courageous journey of his mother, Rachel, bringing together the story of the Underground Railroad, the historic free state town of Quindaro, and the events that ultimately shaped one of America’s most extraordinary musicians. Accompanied by a striking visual narrative that combines original comic book artwork, archival imagery and footage from the recording sessions, the release demonstrates the scale and vision behind Blind Boone the Musical.

We caught up with Ken to discuss the inspiration behind “Quindaro,” the symbolism woven into its music, the creative process behind the video and why preserving stories like Blind Boone’s has never been more important than now.

Tell us the story of this track. Why did you choose to visualize it specifically in this way?

Quindaro is part of the story of Rachel Boone as told in the musical historical fantasy, “Blind Boone the Musical.”

The song’s setting is just before sunset in late Summer 1863, near Miami, Missouri in north central Missouri. A group of escaped and freed former enslaved persons, called “contrabands” by the Union Army, are heading west to Kansas in search of freedom and a better life. Their immediate goal is to reach the river port town of Quindaro on the Kansas side of the Missouri river and a known stop on the Underground Railroad. They sing to tell their story and their reasons for heading to the Free State of Kansas.

At dawn, the freedom seekers continue walking west to Quindaro. Rachel twisted her ankle the previous day, and it has swollen through the night. She is unable to walk. She will remain in central Missouri and give birth to John William Boone, who will become the prodigy and performing legend “Blind Boone.”

The cowbell beat that begins Quindaro is a standard “bell pattern” that forms the basis for much of the music of sub-Saharan Africa. The migration of this cross-rhythmic figure into the Americas introduced new rhythms to American music that did not exist in Europe. Some musicologist trace the “swing” of American blues and jazz to this pattern.

In the song Quindaro, the bell pattern remains consistent while the underlying pulse of the shaker and the bass drum alternate from a 6/8 beat to a 4/4 beat. Shifting the underlying pulse from 6/8 to 4/4 symbolizes the forced migration of the Africans to the Americas.

What was the inspiration behind this new video (visuals , storyline, etc.)?

The video features art from the companion comic book, video from the recording sessions, photos, and historical maps and drawings. My goal was to tell the story of the freedom seekers along with the experience of the musicians. The viewer can see through the maps and drawings the perilous journey from the Missouri side of the river at Parkville to the Kansas side of the river at Quindaro.

What was the process of making the video?

To create the video, I drew on images from several sources. To present the story of Blind Boone the Musical in a clear and linear manner, I collaborated with Gutter Studios to develop a comic book adaptation.

While recording Quindaro, I filmed videos of the musicians performing. I interspersed those videos with the comic book images and vintage maps and drawings to visually tell the story.

The video represents the dramatic story of freedom seekers from one hundred and sixty-three years ago and the joy of musicians performing today.

Connect with Ken Lovern and Blind Boone the Musical HERE

06.22.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH MARIO MATTIA

With “Vector“, Mario Mattia continues his exploration of real time solo piano improvisation, working within an evolving framework he describes through three overlapping worlds: meditative, abstract, and freeform. Each improvisation emerges without pre-composition or predetermined structure, unfolding in the moment and revealing its identity only in retrospect.

We are particularly delighted to have Mario return for another Video Voyageur, as his work continues to evolve and deepen across both musical and visual dimensions.

“Vector” sits firmly within the abstract strand of this practice. Brief, angular and intensely focused, it traces a compressed musical trajectory shaped by tension, velocity and fragmentation. Rather than illustrating a narrative or external idea, the work exists as a direct expression of motion and energy, translated into sound as it happens.

The accompanying visual language extends this approach. It offers a non-literal environment that mirrors the piece’s instability and intensity. Together, music and image form a unified space of abstraction – one that prioritises force, texture and perception over story or explanation.

Tell us the story of this piece. Why did you choose to visualize it specifically in this way?

“Vector” belongs to the abstract area of my work. My improvisations fall into three genres: meditative, abstract and freeform.

The meditative pieces tend to be spacious, tonal, inward, and contemplative. The abstract pieces are more angular, atonal, compressed, and exploratory, often emphasizing gesture, texture, rhythm, and intensity over conventional lyricism. The freeform pieces move between worlds. They may begin in a tonal or meditative space, pass through abstraction or dissonance, and return transformed, allowing the music to determine its own structure in real time.

Although I use these three categories to help listeners orient themselves, the improvisations are never planned in advance. Each one emerges spontaneously, and the genre becomes clear only afterwards. The improvisation emerged very clearly from the abstract genre. As with all of my piano improvisations, there was no prior plan, structure, or conception. I did not sit down intending to create an atonal piece, nor did I set out to make something intense or angular. It simply emerged that way in the moment. Looking back, I suspect it reflected the particular intensity of my inner state at the time – not in a literal or programmatic sense, but as a kind of emotional pressure translated directly into sound.

Because the music moves by tension, velocity, interruption and abstraction, I wanted the visual world to reflect that same character. Rather than using imagery that would soften or explain the piece, I chose visuals that would support its non-representational quality – something closer to motion, geometry, instability, and concentrated energy.

The goal was to illustrate a story, but to create a visual counterpart to the music’s abstract force.

What was the inspiration behind this new video (visuals, storyline, etc.)?

There is no storyline in the video, and I did not want to impose one on the music. “Vector” is an abstract, atonal improvisation, so the visual approach needed to remain non-literal. The inspiration was really the character of the piece itself: compressed, intense, angular, and unstable. I wanted the imagery to reflect those qualities without explaining them.

The visuals are meant to create an atmosphere

The video was assembled and edited in DaVinci Resolve. I began by searching for visual material that seemed to share something with the character of the piece itself: compressed, intense, angular, and unstable. I wanted the imagery to reflect those qualities without explaining them. The visuals are meant to create an atmosphere of abstraction and movement – something geometric, unsettled, and concentrated – rather than a narrative sequence. For me, the video functions as a visual environment for the music, not a story about it.

What was the process of making the video?

The video was assembled and edited in DaVinci Resolve. I began by searching for visual material that seemed to share something with the character of the improvisation – not literal images, but imagery that suggested abstraction, motion, tension and instability.

From there, the process became one of correlation. I tried to shape the visual flow so that it moved with the music: more active and fragmented through much of the piece, with a small amount of color to give it energy and contrast, and then somewhat calmer as the improvisation itself begins to release near the end.

I also included a brief image of myself at the piano, not as a focal point, but as context – a reminder that this is still a human, physical performance, even when the musical language is highly abstract.

The title “Vector” came afterward, as my titles always do. It seemed to reflect the underlying character of the improvisation: direction, force, motion, and a kind of concentrated trajectory.

About Mario Mattia

Mario Mattia is an improvisational pianist and graduate of the New England Conservatory whose work is rooted in spontaneity, deep listening and emotional presence. Drawing on influences ranging from Johann Sebastian Bach to Keith Jarrett and Brian Eno, his music bridges classical, jazz, progressive and ambient traditions.

Each performance is created entirely in the moment, without predetermined themes or structures. While his primary work centers on solo piano improvisation, Mattia also maintains an electronic studio practice that serves as a parallel and occasional extension of his explorations in sound.

Working from his rural studio, Mattia captures every nuance of sound, inviting listeners into immersive, contemplative spaces where music unfolds as lived experience.

Keep up with everything Mario Mattia on his Website

06.07.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH SCARLET AYLIZ

Every artist has that one song that refuses to be left behind. For rising rock artist Scarlet Ayliz, that song is “Say I.”

Originally written when she was just seventeen during an impromptu basement jam session, the song lay dormant for years before being rediscovered and transformed into the powerful alt-rock statement it is today. Drawing inspiration from 90’s grunge, classic rock, and the trials and tribulations of growing up, “Say I” captures the raw emotions of youth while showing an artist determined to carve out a sound entirely her own.

With an accompanying music video created alongside Ikon Media, vibrant visuals, and a renewed sense of artistic purpose, Scarlet Ayliz is entering an exciting new chapter in her musical journey. We caught up with her to discuss the origins of the song, the creative process behind the video, her influences and why “Say I” represents far more than just another single release.

Tell us the story of this track. Why did you choose to visualize it specifically in this way?

My new song ‘Say I’ was written by me when I was seventeen. I had gone through multiple bands, and the pandemic hit shortly after. The band I was with was having a jam session in my basement, so I took control of what I heard, shot out a few directions, and sang a bunch of nonsense until something started to hit me. I had just wanted to rant about how crappy life had been recently with regards to growing up, having crushes on douchebags, and being scared of falling back into the loop of fake friends, and unrequited feelings.

The initial recording was a voice memo of me and my old band having a jam session, I had liked what they were fooling around with and decided to give them some directions in hopes they’d like what I came up with to give the song more structure. The demo came out great, but after we split I completely forgot about it until I was looking through my files and began to listen to it again. I presented the recording to my executive producer, and we redid the track with all new instruments and a clean final mix. We switched up some of the format, but the heart of the song remains the same.

What was the inspiration behind this new video (visuals, storyline, etc.)?

I was heavily inspired by 90’s grunge and 2000’s “dad rock” for the sound. My band and I at the time played mostly covers that leaned into a classic rock genre, but decided to shift gears once I started presenting more songs to them to learn. I wanted to fuse genres and make my own rock sound. Say I marks the end of fitting a mould, and the beginning of putting together my own unique sound.

What was the process of making the video?

For my new MV, Say I, I partnered with Ikon Media to bring to life a fun summer-esque vibe, that has a bit of edge to it—the bright colors and rocker edge are meant to paint a picture of moving forward into brighter days, while remembering how tough the past was in certain aspects.

Keep up with Scarlet Ayliz on her Website

04.08.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH IAN WARD

There’s something easy and relaxing about the way Ian Ward’s “You and Me” exists. It’s just about two people choosing each other and letting everything else fall away.

That same energy carries into the music video. Shot out in Malibu with almost no setup, it leans into the moment instead of trying to control it anything. And you can feel that ease in the production too with the lighting, the space and the sense that nothing is being forced.

We caught up with Ward to talk about the song, the decision to keep things simple and why sometimes the best way to tell a story is to stop trying so hard to tell one.

1. Tell us the story of this song, why did you choose to visualize this song specifically in this way?

“You and Me” is about two people choosing each other, even when there’s outside noise… opinions, doubt, or people not fully understanding the relationship. It’s about tuning all of that out and saying, “it’s still you and me.”

Visually, I wanted something that matched both the feeling of the track and some of the imagery in the lyrics. The song has this light, open, almost coastal energy to it, so it felt natural to place it somewhere that physically reflects that sense of freedom and connection.

2. What was the inspiration behind this new video (visuals, storyline, etc.)?

The inspiration really came from the feeling I get being by the ocean… freedom, playfulness, and love without pressure. There’s something about the beach that strips everything down to what matters.

We shot the entire video in Malibu, and the goal was to just exist in that environment… to let it feel easy, spontaneous, and alive. It’s less about a structured storyline and more about capturing that carefree, “nothing else matters but us” kind of energy.

3. What was the process of making the video?

The process was intentionally simple. It was just the two of us, an iPhone, and my guitar. No big production, no overthinking.

We timed it around sunset, and honestly, the light, the waves, and the environment did most of the work for us. We just leaned into the moment and let it unfold naturally, which I think helped the video feel real and unforced.

Listen to “You and Me” here:

Keep up with Ian Ward on his Website

03.24.26

by Jane Lambert

Life Between the Lines: Bobbo Byrnes and the Reality of the Touring Musician

Despite spending more than two decades on the road, and playing everywhere from living rooms to festival stages across the U.S. and Europe, Bobbo Byrnes has largely remained just outside the traditional spotlight. Therefore, it feels appropriate that his memoir, Too Many Miles: On the Road with an Unofficial Rock & Roll Goodwill Ambassador, doesn’t focus on a single breakthrough moment or career peak, but instead captures the long, winding road of a working musician who has built his life one show, one connection and one mile at a time.

This is not a typical rock memoir filled with tales of excess or industry mythology, nor is it strictly a travelogue. Alhough it does contain elements of both. While Byrnes does recount the expected stories the book quickly expands into something broader. It becomes a reflection on what it means to exist in that middle space of the music world: not unknown but not quite mainstream either, working within a global network of small venues, house concerts and grassroots connections.

Byrnes’s early years and evolution as a musician are touched on throughout, from his beginnings in the Boston music scene to his eventual relocation to Southern California and the formation of his band, The Fallen Stars. These formative experiences are presented as part of an ongoing continuum, one that includes constant touring, creative partnerships and the gradual shaping of his identity as both an artist and a storyteller.

A significant portion of the book focuses on Byrnes’s experiences touring internationally, particularly in Europe where his role often extends beyond performer. Much like the best travel writing, these sections highlight not just where he goes but how he is received along the way.

Encounters with audiences frequently shift from music to conversations about American culture, politics and identity, placing Byrnes in an unexpected position of informal ambassador. These moments, including a tense radio interview in Germany and performances for diverse audiences, underscore the idea that music can serve as a bridge in ways that more formal channels often cannot.

Parallel to these stories is the recurring theme of connection and how fleeting interactions with strangers can leave lasting impressions. Whether it’s a conversation after a show, a shared meal or a collaborative moment with fellow musicians, Byrnes emphasizes the communal aspect of a life on the road. In doing so, he subtly pushes back against the notion of the lone artist, instead illustrating how his career has been shaped by countless individuals along the way.

Stylistically, the book mirrors Byrnes’s songwriting with its direct and conversational tone. There is little attempt to mythologize events or even elevate them beyond what they are. Instead, the strength lies in accumulation, in the gradual layering of stories that, taken together, form a clear picture of a life defined not by a sigular achievement but by persistence.

While the book stands out on its own, it also exists alongside a companion album which echoes many of the same themes. Much like the memoir, Byrnes’s music draws from years of travel and observation, reinforcing the idea that Byrnes’ songs and stories are inseparable parts of the same narrative.

If there is an overarching takeaway, it is that careers like this rarely follow a straight line. There is not a single defining moment or arrival point but just the work itself: the writing, the traveling, the performing and the decision to keep on going. If the realities of independent touring, the intersection of culture and songwriting and the quieter stories that exist beyond the mainstream music industry are of interest, then Too Many Miles is well worth the journey.

Connect with Bobbo Byrnes on his Website

02.15.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’S WITH AMANA MELOME’

With her single “Con C.ALMA” and accompanying video, Amana Melome’ continues to create a space that is both deeply personal and quietly powerful.

“Con C.ALMA” is more than just a song. It’s a reflection of her philosophy on creativity, presence and moving through life at your own rhythm.

Filmed in the flower lined streets of Southern Spain and in her own creative studio, the video captures the calm, colour and intention that define this new chapter of her artistic journey. Rooted in themes of self-trust, patience and inner alignment, “Con C.ALMA” feels like a gentle invitation to slow down and reconnect both with ourselves and with the world around us.

We spoke with Melome’ about the symbolism behind the visuals, the spontaneous process of bringing the video to life and why flowers became the central metaphor for this beautifully unhurried release.

Tell us the story of this song, why did you choose to visualize this song specifically in this way?

Con C.Alma is a song about doing things on your own way at your own pace, without letting the world rush you.

I felt flowers were very symbolic for the sentiment behind the song. You can’t rush a flower to bloom, and you can’t expect one flower to be exactly like another either! Just like people!

The intention was to create a video that felt elegant yet simple, colourful and calming like sunshine.

What was the inspiration behind this new video (visuals, storyline, etc.)?

I intentionally inserted flowers in all of the visuals for this song! I made a wire flower for the cover of the single, I am wearing big flower earrings in the video and I am walking and dancing around the beautiful flower lined streets of Andalusia in Southern Spain.

There is a softness dancing with the boldness of the images, a calm and colourful sultry meets don’t mess with me vibe hahaha! I thought after waltzing around these beautiful streets, orange trees and fountains, ending up in my studio was the perfect ending to the story line.

Lighting my candles and painting, with flowers in my hair. This is my actual studio where I paint and record music, so it encapsulates my essence in a perfect way!

What was the process of making the video?

I had the vision of the vibe I wanted to create, and called in my good friend and amazing makeup artist Kirsten (shoutout to @kirstenpromakeup) who is always game to get creative together!

I pulled the clothes and accessories from my closet. Once I explained my vision, she found a walking map of the flower-lined streets in the area, and off we went!

2 iPhones in hand and a tripod! We walked through all of the areas, I sang the song through once (sometimes twice) at each, and we kept it moving. Once I left her, I drove to my studio…and it hit me: that could be a perfect closing scene! Super unplanned I filmed all of the studio images by myself! Opening the door, to lighting the candles, to painting and dancing in the mirror. I was just imagining fun edits…and I happened to have two big white flowers in my studio (the last of a bouquet gifted to me on my birthday a few days before). I chose my favorite clips and the rest is history!

I am very happy with how the video turned out!

Keep up with everything Amana Melome’ on her Website