by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH KEN LOVERN

Some of the most important moments in a person’s life happen before anyone knows what they will become. A child displays an unusual gift, someone takes notice and a single act of encouragement can alter the course of a life. For John William “Blind” Boone, one of America’s great musical pioneers, that moment came when a former Confederate general recognised something extraordinary in a young boy and decided he deserved the opportunity to develop it.

“School for the Blind,” the third single from Kansas City composer and jazz organist Ken Lovern’s Blind Boone the Musical, tells that remarkable chapter in Boone’s story. Set in post Civil War Missouri, the song explores Francis Cockrell’s efforts to persuade the people of Warrensburg to help nine-year-old Boone travel to St. Louis to study music at the Missouri School for the Blind.

The accompanying video brings that history into the present, combining artwork from the project’s companion graphic novel with archival photographs, historical imagery and footage of the musicians recording the song.

We caught up with Ken to talk about the remarkable relationship between Cockrell and Boone, the importance of showing the community that helped nurture the young musician’s talent, and the creative process behind bringing this pivotal chapter of Blind Boone the Musical to life on screen.

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

In the song “School for the Blind,” former Confederate General Francis Cockrell is convincing the town of Warrensburg, Missouri to help young John Boone attend the Missouri State School for the Blind in St. Louis.

After the Civil War, Blind Boone’s mother, Rachel Boone, finds employment in the home of Francis Cockrell. Cockrell is immediately taken with young John Boone. Boone is a cheerful, charming, and enchanting child, and he imitates bird calls and other sounds he hears. Boone plays the tin whistle and forms a musical group with the other neighborhood children. He is a very talented child with a lot of potential.

Cockrell becomes a champion for Boone, and arranges for Boone to attend the Missouri School for the Blind in St. Louis where Boone can study music. Cockrell convinces the town elders to help him finance the education and the train fare to St. Louis. In the fall of 1872, nine-year-old Boone travels alone 225 miles to St. Louis. While Boone only attended this school for a few semesters, this time was instrumental in developing his ability to play piano. Francis Cockrell was correct when he realized that Boone had talents that deserved cultivating, and he convinced an entire town to help.

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

I wanted to show the musicians creating the music for this track, and I also wanted to tell the story of the town of Warrensburg supporting young John Boone.

What was the process of making the video?

I used images from the Blind Boone the Musical comic book and historical images to help tell the story. I was particular interested in trying to explain Francis Cockrell’s motivation in helping this child of a former enslaved person.

I used video images captured during the recording of the track to show the musicians. My intent was to weave the musician images with the historical images and comic book art to convey the captivating story of Blind Boone.

Keep up with Ken Lovern and Blind Boone the Musical here.

08.14.26

by Jane Lambert

VIDEO VOYAGEUR – 3 Q’s WITH ZOEY MADISON

For Zoey Madison, music has never been confined to what we hear. The New York based R&B-pop artist approaches her work as a complete creative world, where sound, imagery, storytelling and personal experience all have a place. With her latest single, Love Like You, that vision becomes particularly vivid.

A beautifully arranged piano ballad that grows into a sweeping production of strings and layered vocals, the song traces the experience of finding yourself through relationships – and confronting just how much of yourself you can sometimes give away in the process. But the story doesn’t stop when the music ends. Madison has created an accompanying visual world drawing on her fascination with 1920s design, classic Hollywood and the surreal, otherworldly atmosphere of The Twilight Zone.

It’s an aesthetic that reflects an artist who has a clear idea of where she wants her music to take her. From the initial mood board to the finished video created with graphic artist Monique Mendoza, every frame has been considered as part of a larger artistic identity.

We caught up with Zoey to talk about the story behind love like you, the meaning of its pivotal bridge, her fascination with old Hollywood and why building a visual language around her music is just as important as the songs themselves.

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

The song is a journey of finding yourself through new relationships culminating in my favorite part of the song, the bridge which demonstrates that sometimes we put ourselves through a lot to stay with people we love. I chose to visualize it through compilations of things I love like 1920’s type graphics, old Hollywood which I’m very passionate about and images reminiscent of the twilight zone to give it another worldly feeling.

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

I have always had a very particular view of what I want my brand and artistry to look like concerning my music. Visuals are very important to me. The various frames of the video were put together intentionally in such a way as to capture not only the mood of the song but advance the image I am trying to achieve.

What was the process of making this video?

I put together a mood board reflecting the images I found to represent my brand and what images of my brand I wanted my song “Love Like You” to convey. Working with graphic artist Monique Mendoza, we were able to put together a video which felt authentic to me as an artist.

Keep up with everything Zoey Madison on her Website

07.16.26

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

06.15.26

by Jane Lambert

VIDEO VOYAGEUR: 3 Q’s WITH jen M

With “Why Don’t You Do Right?”, jen M steps into a new artistic chapter while staying deeply rooted in the blues tradition that shaped Lil’ Red & The Rooster. Featuring Grammy nominated pianist Bobby Floyd alongside collaborators Lauren Tucker, G-Louis, and The Governor this track transforms a familiar jazz standard.

Built from the scratch of a washboard, the sway of bongos, a weathered upright piano, and the twang of a gitjo, the recording creates the atmosphere of a cold New York apartment where survival matters more than glamour. Rather than romanticizing wealth and escapism, jen M’s interpretation focuses on the emotional toll of hard times and the complicated tenderness of tough love. The accompanying video expands that idea visually, contrasting the elegance of a vintage jazz-club setting with the modern reality of working musicians, phone screens and a culture that often consumes art while undervaluing the artists who create it.

At once intimate and socially observant, “Why Don’t You Do Right?” marks the debut of jen M as a solo project and signals an exciting evolution in her creative voice: genre fluid, collaborative, and driven by instinct, storytelling and atmosphere rather than convention.

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

When I hear the lyrics of “Why Don’t You Do Right?” I imagine a young woman demanding her man become her sugar daddy to drape her in diamonds and furs. I don’t relate to that. I imagine a NYC apartment with high ceilings and a bone chill in the air — radiators clanking, electricity flickering. A woman frustrated with her partner worn down into laziness by an oppressive world. Starving, tough love is all she has left to give to get him back on his feet.

To create this soundscape in the studio I layered the scratch of a washboard with bongos to create the atmosphere. There was a perfectly out-of-tune upright in the corner that Bobby Floyd brought to life. It was like listening to a 1920’s barroom. G-Louis added a soft simple bass line and his banjo guitar with the perfect twangy texture. I wanted to turn the song into a duet. We didn’t think too much about why there are two women in this situation, we leave that up to your imagination. I didn’t need to give Lauren much direction we entwined our voices instinctively in the moment. It only took two takes. That created the music.

I’m a very intuitive creator. I love puzzles. In grad school at Naropa University, I studied a technique for theatre creation called Moment Work by Moises Kauffman. In this technique you start with a story or idea or question or theme and then instead of writing a story you create moments that relate to the theme. They can be anything. Once you have them you weed them and then arrange them like pearls on a string. I love this way of working. It doesn’t have to be linear or necessarily clear point to point. It can be a series of impressions, senses and experiences. So, for this project, I didn’t want to tell the story of the lyrics or my impression of them. I think it’s strong enough in the music. I didn’t want to explain. I want it to be a different experience for everyone.

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

I wanted to play with the dichotomy between the musicians on stage making the same hundred bucks a gig they did in the 80’s and a wealthy public of art lovers. They all love music and that love becomes the excuse for a culture to starve their artists because … well, “they love what they do.” And we do, and we’d love to live better without begging for each dollar. So we have that artist cry for culture to do better and get us some money too.

So, I asked our fans to come to our favorite coffee shop Java Central in my home town Westerville, Ohio dressed to the nines. I told them to not hold back, bring out those diamonds and pearls and they did, including my mom. We put white table cloths on the tables with crystal wine and cocktail glasses. Dimmed the lights and turned it into a NYC jazz club vibe.

I’m also fascinated by the new phone filming art trend. I’m not anti or pro, I accept it for what it is, a new way of sharing art with others. I wanted to bring that element into the video like a veil over being present in the moment. Veil’s can have their beauty too.

Another element I wanted to explore was using black & white of the past in contrast to vivid color of now.

What was the process of making the video?

Our friend and videographer Bill Jingo helped me set up a GoPro, iPad and iPhone as three static full scene camera angles. Then he shot close-ups with a hand-held iPhone holder. The venue has stage lighting and a really beautiful blue wall next to brick and an old upright piano. I chose the space for that blue wall. There’s also a painting of a dear friend and fellow musician who passed away a few years back.

The band came dressed for a high-end gig. I played the recording live and we doubled it with voices and instruments, which meant we all had to relearn our parts. It’s not as easy as it sounds. The fans sat down in front of the stage and played their part. We did three takes plus close-ups. One take I asked them to get their phones out and film the soloists. They got really into it with one guy doing a selfie with the band in the background. The footage is really quite beautiful when layered over like that veil I was referring to.

My favorite moment is a slow motion money grabbing moment. I took the tip jar and grabbed all the money and threw it in the air. All the musicians grabbed for it while the audience was filming it with their phones. Funny thing, one bill got stuck in the ceiling panels.

Another funny moment, while filming Bobby’s closeup on his solo, G-Louis started playing his gitjo behind his head like an electric guitar. The public started laughing of course and Bill caught Bobby and Governor’s expression of delight and surprise. I didn’t use the behind the head shot, but the shot of Bobby and The Governor is in the video. Look for it during the guitar solo.

Bill did such a beautiful job with the filming that editing was effortless. It was all intuitive. When I finished I realized I’d naturally bookended the video in black & white with the washboard.

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: