Musique Noire

"The cultural melting pot of Detroit has produced remarkable jazz artists who incorporate diverse ethnic sounds into their music. Led by violinist and flutist Michelle May, Motor City quartet Musique Noire weave elements of Spain, Africa, India and the Middle East into their sonic tapestry. But jazz and blues provide the bedrock on which they build, as they and their guests draw connections between America's grand music and its antecedents and analogs on 'Reflections: We Breathe' (Ann Vincent Productions), their latest recording. That the group comprises all women lends a powerful point of view, particularly on a potent interpretation of Nina Simone's 'Four Women' , the vocal parts shared among the group. Written by JoVia Armstrong, the instrumental "Reflections", included here, begins with the gentle strum of the acoustic guitar and the plaintive sound of the viola before the tune takes a turn for the celebratory. Marion Haden's (sic) liquid bass lines and Armstrong's lively percussion add danceable rhythms, and soon, violist Leslie Deshazor and guitarist Elden Kelly are lifting their feet and dancing along on their respective instruments." - Jazziz Magazine

"Michelle Ann May, a talented and creative violinist and flutist, emerged from this world of multi-ethnic Detroit sounds. . .she is here, with an assemblage of some of the finest musicians in the city; women with several collective lifetimes of musical experience, all versed in the international sounds of this sprawling metropolis. . .Musique Noire is an exuberant, jazzy ensemble. . .experience this magical, sophisticated chamber performance and be transported to many other lands via soulful, global Detroit." - Marsha Music (www.marshamusic.wordpress.com)

Musique Noire open their latest album with a vibrant interpretation of Nina Simone's "Four Women," springing forth from the indefatigable spirit of its lyrics and suturing a sureness and empowerment from its outset, a theme and an energy that will continue throughout. Mesmerizing vocals and sinewy/smooth strings set the stage for what will be a venturous and stylized album that celebrates women warriors, while combining vibes, rhythms and signature phrasings from all over the world.

The ribbon-like kite gust of "Ibelec's" primary melody is indelible and carries you away. The Spanish guitar flourishes of "Whiskey & Sangria" are transportive and given extra evocation by the taut expressiveness of the strings. "Reflections" slows the tempo and all but takes it away for a nocturne of quiet contemplation until it can't help but burst just past it's 1-minute mark with ebullient symbols and a minimalist guitar giving nice augmented radiance to the impassioned strings. The bass can shine on the groove-centric "We Breathe," which closes things out with a poignant spoken-word performance by violinist Michelle May. "If you look in our eyes, you see our wisdom / our survival / our trials.... Our triumphs."

The groups core, May on violin, Leslie DeShazor Adams on viola, Leah Lucas Celebi on viola/violin and JoVia Armstrong on percussion, are featured throughout the album, along with several guests like Marion Hayden on bass and Elden Kelly on guitar. Each member takes on production roles with different tracks and is each trade off as lead arranger from piece to piece.

It's an inspirational listening experience. . . - Jeff Milo - Deep Cutz Music

"A very cool little project -- an instrumental set that's heavy on string-based instruments -- kind of an electrified string quartet, and one with a pretty funky feel at times too! Group members mix together violin, viola, and percussion with a bit of guitars and bass -- using the instruments playfully, and in a variety of settings that almost recall some of the instrumental revolutions of the 80s -- kind of a space between Kronos Quartet and some of the more creative combos of the New York scene. There's just a bit of vocals on the record, but the main focus is instrumental -- and the rhythms bring in a lot of world echoes, creating a cross-cultural vibe at times." - www.dustygroove.com

A woman-led band transforms instruments typical of classical music into tools for creating jazz sounds from around the globe. String and percussion quintet Musique Noire covers many miles of musical territory--from Latin to Moroccan, from funk to The Beatles. The group's debut disc, "Good Hair" dishes up diverse dialects all spoken through the language of jazz. . .Violin and viola create a stark contrast to the funk bass that opens the song 'Heretic'. Percussion soars on the Morroccan flavored 'Shrug' and the Afro-Latin opener 'Uncle Check's Cha Cha Cha'. A bouncing rendition of The Beatles' 'Eleanor Rigby' is downright danceable.

(The) ensemble Musique Noire, fuses world music and jazz, resulting in a style that is at once classical and cutting edge. The unconventional combination of violin, viola and percussion lends an exotic air to the group's arrangements of jazz standards and original compositions. - J. Nadir Omowale - African American Family Magazine

"Good Hair" is gorgeous. The music is fresh, melodic, soulful, full of life with a bit of an edge. Congratulations.
- Linda Yohn, Music Director, WEMU 89.1

"The instrumentation may seem a bit unusual, but the clever arrangements bring it all together in an exciting and tuneful fashion. Some of the string quartet/crossover albums have not quite gotten it in the groove, but Musique Noir (sic) is swinging." - John Henry

The group Musique Noire, which recorded its debut album Good Hair (2008) around the Livonia area, is made up of Michelle May, Leslie Deshazor Adams, Leah Lucas, Jovia Armstrong, and Mark Sawasky. Unlike Orpheum Bell, which maintained a clear style throughout each track, Musique Noire seems to change styles with every song. That made for a very enjoyable listen as the group took me around the musical world in style and structure.

Opening with "Uncle Check's Cha-Cha," the group moves through two original compositions, one sounding very eastern European, before taking a turn at Chick Corea's "La Fiesta." It's probably a safe bet to say that was not written for violin, but it sounds like it could have been. At times reminiscent of Jean-Luc Ponty, there are other offerings that certainly are enough to make this gypsy weep. Other original works are wrapped around a jazzy version of "Eleanor Rigby," before culminating in the title track. They may call it "Good Hair," but the 10 tracks on this CD add up to what I call "excellent album."

Musique Noire is a classy group that can move in any musical direction with ease and grace. Mostly instrumental, Good Hair is one of those rare recordings that can be listened to closely with headphones or put on for an ambient background effect. I will be doing both because it is a recording that I found extremely enjoyable.

- Peter Karoly, www.360mainstreet.com

Excerpt:
"When Carter arrived in New York, jazz violinists were few and far between . . . Now Carter can look at a musical landscape that includes Daniel Bernard Roumain, whose classical, jazz and pop projects have pushed the violin's role even further from string quartet territory; Jenny Scheinman who has deftly merged the violin's country tradition with a fierce appetite for jazz experimentation; the members of Musique Noire, who are showing how well strings and percussion can work as the core of a band and many, many, others." - Martin Johnson, TheRoot.com

Kudos to violinist/bandleader/producer/arranger Michelle May and the entire team of Musique Noire for a job well done!

At the very first notes one gets the sense of hypnotic intoxication and while the music pours out seemingly so easy there'll be no denying the plentiful passion, sexy sizzle and rhythmic vibes to be had through the awesome team work of Musique Noire...the debut release of Musique Noire's - "Good Hair" is musical food for the soul.

Maxine Michaels
Detroit Radio Broadcaster
www.myspace.com/maxinemichaels
MaxineMichaels@sbcglobal.net - Maxine Michaels, Detroit Radio Personality

On behalf of the Performing Arts Committee I express our gratitude to Musique Noire for an absolutely exceptional afternoon of music. The outstanding musicianship of each and every one of you was a privilege to experience and it was a pleasure to have you as part of our 2009-2010 performance series. ~Dr. Lawrence Gage
- First Presbyterian Church of Farmington Hills, MI

What a wonderful sound your band has! How accepting the audience was in hearing new instrumentation and Jazz. Thanks so much for participating in our 28th Annual Flint Jazz Festival. We greatly appreciated you and your band coming and gracing us with your sound. - Cathy Johnson, Program Director

Musique Noire is an all-female jazz world fusion group based out of Detroit, Michigan. Their sound is not only a unique vibe you won’t hear anywhere else, but the band is changing the way music is taught and introduced to young people. All four main members are working musicians and passionate music educators.

Musique Noire includes bandleader Michelle May on violin and flute, Leslie Deshazor on viola, Leah Lucas Celebi on viola and violin, and JoVia Armstrong, on percussion.

The name “Musique Noire” was decided upon because the group’s musical interests were mainly around jazz and world music, but always the undercurrent was that the music was informed by the culture of Black people.

The group’s new release, in*ter*gen*er*a*tion*al, has a jazz and soul-based sound with an ounce of world music. It includes three songs written by three dynamic up-and-coming young (under 30) musicians: pianist Brendon Davis, singer/songwriter/violinist Alex Way, and harpist Ayha Simone. It’s Musique Noire’s way of leaving their legacy and connecting with the younger generations. The 7 songs in total each reflect different experiences of the young artists and the group members as women or being influenced by women. Michelle commissioned these young artists to collaborate with Musique Noire and in turn provided them with mentoring, producer credit, and payment for their work.

Although the songs are mostly instrumentals, two vocal songs are “Like the Sun” and “Nirvana - Feast or Famine. “Like the Sun” is somber yet reflects a sense of growth and hope, about rising to the occasion. The vocalist sings “Like the waves that crash so loud / so will I / so will I.”

“Nirvana - Feast or Famine” reflects themes of Afro-futurism and features lyricist Mahogany Jones. The lyrics are rap and hip-hop inspired and the words themselves are relevant today. Mahogany announces that she’d “rather ask forgiveness than permission.” - Independent Artist Buzz

Musique Noire is the Detroit based all female jazz fusion group. Members Michelle May (violinist and flutist), Leslie Deshazor (violist), JoVia Armstrong (percussionist), and Leah Lucas (violist and violinist), are all accomplished musicians who have performed with high-profile artists such as Stevie Wonder, KEM, and Aretha Franklin. The group’s name reflects their interest in jazz and world music, and their music is informed by the culture of Black people.

Musique Noire’s latest album, intergenerational, showcases the band’s signature jazz and world music fusion sound with a unique twist. The album is a collaboration with three talented up-and-coming musicians, who were asked to write based on their experiences as women or from a woman they admired. The result is an eclectic mix of tracks, each with its own story to tell.

Intergenerational opens with Leslie’s arrangement of the traditional spiritual “Motherless Child,” which incorporates African-style rhythms. Leah’s original composition, “Kaleidoscope,” is a beautifully crafted jazz tune, written by her husband John, who is a pianist, drummer, and composer. JoVia’s contribution, “Nirvana – Feast or Famine,” features lyricist Mahogany Jones and explores themes of Afro-futurism. Michelle’s “Cuban Sunset (Arterdercer Cubano)” is an entirely improvised tune that showcases her violin and flute playing skills.

The impressive collection of tracks reveals the unique talents of Musique Noire and their collaborators. The band believes in leaving a legacy and wanted to have a unique way to reach out to a younger generation.

The album’s sophisticated sound and unique arrangements of world, jazz, soul, and R&B traditions make it a must-listen. With a nomination for a 2023 Detroit Music Award for Outstanding World Recording, Musique Noire continues to prove that they are a force to be reckoned with. - modernmysteryblog

Forming back in 2005, the jazz and world music group Musique Noire are Michelle May (violinist and flutist), Leslie Deshazor (violist), and JoVia Armstrong (percussionist). Initially, the group performed mainly arrangements of various jazz tunes, but it became clear that there was a strong need to create their own material. After a few personnel changes, by 2006 the lineup was complete with the addition of Leah Lucas on viola and violin.

The name “Musique Noire” was decided upon because the group’s musical interests were mainly around jazz and world music, but always the undercurrent was that the music was informed by the culture of Black people.

Musique Noire were 2009, 2010, 2011 and 2018 Detroit Music Awards nominees for Outstanding Jazz Recording (2009, 2018) and Outstanding World/Reggae Group (2009, 2010, 2011, 2018) and 2015 winners of the Best Black Female Jazz Group through Black Women in Jazz Awards out of Atlanta, GA. The group has just been nominated for a 2023 Detroit Music Award for Outstanding World Recording for ‘in*ter*gen*er*a*tion*al.’

‘in*ter*gen*er*a*tion*al’ is the groups newest world jazz fusion album. Consisting of 7 original songs from each member of the group and 3 young up and coming musicians, the songs encapsulate the female experience through generations.

“in*ter*gen*er*a*tion*al is a collaboration with three outstanding up-and-coming musicians to show that the legacy of unique performances and songwriting, such as what we as Musique Noire do, is vibrant in the next generation,” shares Michelle May. They believe in leaving a legacy and wanted to have a unique way to reach out to a younger generation.

Leslie’s contribution, “Motherless Child”. This was a traditional spiritual that she always loved and enjoyed arranging it to include African-style rhythms. Leah’s contribution, “Kaleidoscope” is an original from her husband John, who is a jazz pianist, drummer and composer. JoVia’s contribution, “Nirvana -Feast or Famine” incorporates themes of Afro-futurism and features lyricist Mahogany Jones. Michelle’s contribution, “Cuban Sunset (Arterdercer Cubano) was an opportunity for her to explore and express herself by performing a completely improvised tune. - Elicit Magazine

Musique Noire’s latest album, intergenerational, is a brilliant showcase of the group’s soul and world jazz fusion style. This collaboration with three up-and-coming musicians is a testament to the band’s commitment to preserving their unique performances and songwriting, as they hope their vibrant musical stylings leave their legacy for the next generation.

Musique Noire, formed in 2005, is made up of Michelle May (violinist and flutist), Leslie Deshazor (violist), JoVia Armstrong (percussionist), and Leah Celebi (viola and violin). The group’s name, “Musique Noire,” reflects their interests in jazz and world music, informed by the culture of Black people.

The group asked the 3 young musicians they employed for help to write a song that explores the experiences of women, or from a woman they admire. Each member of the group also contributed an original track of their own. Leslie’s “Motherless Child” is a beautiful rendition of a traditional spiritual, while Leah’s “Kaleidoscope” is an original composition from her husband, John. JoVia’s “Nirvana -Feast or Famine” incorporates Afro-futuristic themes and features lyricist Mahogany Jones, and Michelle’s “Cuban Sunset (Arterdercer Cubano)” is an entirely improvised tune that showcases her improvisational skills.

The album is a sophisticated blend of world fusion music, with each member’s musical style and skill shining through. The band’s veteran players have performed with high-profile artists such as Stevie Wonder, KEM, Aretha Franklin, and Frank McComb, among others.

In recognition of their outstanding work, Musique Noire has been nominated for multiple Detroit Music Awards and won the Best Black Female Jazz Group at the 2015 Black Women in Jazz Awards.

Intergenerational is a beautiful EP that showcases Musique Noire’s incredible talent and unique sound. It is a must-listen for anyone who appreciates jazz and soul. - Divine Magazine

Forming back in 2005, the jazz and world music group Musique Noire are Michelle May (violinist and flutist), Leslie Deshazor (violist), and JoVia Armstrong (percussionist). Initially, the group performed mainly arrangements of various jazz tunes, but it became clear that there was a strong need to create their own material. After a few personnel changes, by 2006 the lineup was complete with the addition of Leah Lucas on viola and violin.

The name “Musique Noire” was decided upon because the group’s musical interests were mainly around jazz and world music, but always the undercurrent was that the music was informed by the culture of Black people.

We got to speak with Musique Noire about their recent project, their career, and more in this edition of 7 from the Women. Without further ado, let’s dive in:

What Have You Been Working To Promote Lately?

Our latest release is called in*ter*gen*er*a*Ion*al. Bandleader Michelle May commissioned three outstanding up-and-coming young (under 30) artists to collaborate with Musique Noire and each to write a song for the group. The group believes in leaving a legacy and wanted to have a unique way to reach out to a younger generation, which is where the release title came from. The group provided mentoring, a producer credit and paid them for their work. The young artists were asked to write based on their experiences as women, or from a woman they admired. In addition, each main member of the group (Leslie, Michelle, Leah and JoVia) contributed an original track of their own: Leslie’s contribution, “Motherless Child”. This was a traditional spiritual that she always loved and enjoyed arranging it to include African-style rhythms. Leah’s contribution, “Kaleidoscope” is and original from her husband John, who is a jazz pianist, drummer, and composer. JoVia’s contribution, “Nirvana -Feast or Famine" incorporates themes of Afro-futurism and features lyricist Mahogany Jones. Michelle’s contribution: "Cuban Sunset (Arterdercer Cubano) was an opportunity for her to explore and express herself by performing a completely improvised tune.

Please tell us about your favorite song written, recorded, or produced by another woman and why it’s meaningful to you.

We are so inspired by women who write from a social justice perspective that it became the theme of our previous release, “Reflection’s: We Breathe” (2017). There really isn’t one song that’s a favorite; it’s more about the spirit of what the women artists expresses in her work. Two of our favorite women artists include pianist and singer Nina Simone and the Afro-Peruvian singer, Susana Baca. Both women were incredible artists, but also fiercely fought for the rights of Black people, both women and men alike, through their music and activism.

What does it mean to you to be a woman making music/in the music business today and do you feel a responsibility to other women to create messages and themes in your music?

We take our role as women musicians very seriously! It can be challenging to have your voice heard in a way that’s not minimized. We have chosen to stay as independent artists because it has been extremely important for us to have control of the songs we produce and record, the venues where we perform, and the visual image that we project. We also surround ourselves and collaborate with other like-minded women artists, which has made space for us to inspire others and to be inspired ourselves. This has been crucial for our creativity. We describe ourselves as a women-led strings and percussion ensemble; we want women artists (and girls, too!) to see and hear us and feel empowered to be authentic in their beauty and intelligence. Women are at the forefront of all we do!

Do you consider yourself a feminist? If so, why, or why not?

The ladies of Musique Noire are feminists; specifically, we identify with the Black feminist movement! We define that as having a clear understanding that for us, being a woman also intersects with being Black and so we are not only addressing gender inequities, but racial inequities as well. There is so much trauma around being a Black woman in America, we want to uplift the narrative that we will not be silent around social justice causes that elevate the inclusion of our stories and our needs in this country.

What was the most challenging thing you have had to face as a female artist?

We would say some of the dismissiveness of some of our male music colleagues has been particularly frustrating. In the early days of the group (we’ve been together since 2005), some of the men who were formerly in the group would take over rehearsals or ignore directions that came from the women in the group. There has been some frustration regarding some men thinking that we only have become good musicians because of our proximity to certain male musicians. There has also been an industry dismissiveness in that there have been some venues and festivals that have wanted us to have a certain “look” that catered to a sexist viewpoint. We don’t compromise on who we are in that way.

If you could collaborate with any other female artists, who would you choose?

We love collaboration! But we look beyond just musicians; we have worked with women dancers and filmmakers. It would be a dream to put together a piece that could incorporate those elements, women visual artists as well. We don’t have anyone specific in mind; as we said before, the spirit of the work would dictate the collaborators!

What do you hope to share with other women in the industry with your music?

It is our goal to show that you don’t have to compromise your integrity and your authentic voice to be heard—at ANY age. You can be a leader and ask for what you want and as the saying goes, if you are denied an opportunity, make your own. So much of our career would have been compromised if we had decided to let someone else—a producer, a manager—have control over how our artistry would be presented. We have committed to being self-produced and self-managed to be in complete alignment with our artistic values. - Independent Artist Buzz

When you think of music genres, it’s common to see them separated not just by style, but also by age. There’s adult contemporary for example, and even radio stations promote the “golden oldies” for a certain age group. Of course it all goes back to record label marketing and the way artists and executives strategize to maximize profit. But in reality, music has no age, no gender, and certainly no barriers for inclusion.

World jazz fusion group Musique Noire is proving that artistry can be intergenerational, multicultural, and tell powerful stories that honor our differences. Formed back in 2005, the group Musique Noire was founded by Michelle May (violinist and flutist) and today includes Leslie DeShazor (violist), and JoVia Armstrong (percussionist). Initially, the group performed mainly arrangements of various jazz tunes, but it became clear that there was a strong need to create their own material. After a few personnel changes, by 2006 the lineup was complete with the addition of Leah Celebi on viola and violin.

The name “Musique Noire” was decided upon because the group’s musical interests were mainly around jazz and world music, but always the undercurrent was that the music was informed by the culture of Black people.

The group’s members are veteran players nationally and internationally, having performed with such high-profile artists as Stevie Wonder, KEM, Aretha Franklin, El Debarge, and Frank McComb among many others.

Musique Noire were 2009, 2010, 2011 and 2018 Detroit Music Awards nominees for Outstanding Jazz Recording and 2015 winners of the Best Black Female Jazz Group through Black Women in Jazz Awards out of Atlanta, GA. The group has just been nominated for a 2023 Detroit Music Award for Outstanding World Recording for their new album titled in*ter*gen*er*a*tion*al.

in*ter*gen*er*a*tion*al is a collaboration between Musique Noire and three up-and-coming musicians to show that the legacy of unique performances and songwriting, such as what Musique Noire do, is vibrant in the next generation. Each contributor was asked to write based on their experiences as women, or from a woman they admired.

In addition, each main member of the group (Leslie, Michelle, Leah and JoVia) contributed an original track of their own. Leslie’s contribution is “Motherless Child.” This was a traditional spiritual that she always loved and enjoyed arranging it to include African-style rhythms. Leah’s contribution, “Kaleidoscope” is an original from her husband John, who is a jazz pianist, drummer and composer. JoVia’s contribution, “Nirvana -Feast or Famine” incorporates themes of Afro-futurism and features lyricist Mahogany Jones. Michelle’s contribution, “Cuban Sunset (Arterdercer Cubano) was an opportunity for her to explore and express herself by performing a completely improvised tune.

We had the opportunity to speak with all four members of Musique Noire to learn more about their individual journeys, and the larger impact they hope their music will have on our culture, as well as future generations of musicians.

Michelle May (violin/flute, founder, ensemble leader)

Where did your career in music begin?

I’ve been a musician since I was in the womb! My mother was a concert pianist. She started me, my brother and sister on piano when we were in early elementary school. In the fifth grade, a teacher came to my class (I attended a Detroit Public School) and said she was going to start teaching string instruments; she brought the instruments with her as a show-and-tell and I was fascinated with the violin!

We also had field trips to see the Detroit Symphony Orchestra, so I had a lot of exposure to classical music. I began taking flute lessons a year later. I started flute because I heard a flute on the song “Never Can Say Goodbye” sung by the Jackson Five. I was in love with Michael Jackson and the Jackson Five at the time. Motown Records was still in Detroit and I happened to live on the same street as Motown Records founder Berry Gordy. After years of study on both instruments, I’ve been able to perform with a lot of famous people including Stevie Wonder, Aretha Franklin, KEM and numerous other high-profile artists.

How did the idea for Musique Noire come about?

I had played for many years in ensembles that were across several genres, including jazz, classical, gospel, pop, R&B and house music. These were great experiences, but these were *other* people’s musical ideas and expressions that I, and other members of these ensembles, were being asked to interpret, and in a specific way. I was ready to let my own voice be heard artistically.

My younger sister, who is also a musician, said to me, “I think you need to start your own group”. I resisted at first, but she was right. The only way to really do what I wanted to do musically, was to have my own ensemble. The group name means, “Black Music” in French. We wanted a name that was not in English, to represent the fact that our music has influences from all over the world, and that the overall feel of our music is the groove of music that comes from the Black experience across the diaspora.

I decided, that to really make our sound stand out we would be a strings and percussion ensemble, no drums or piano. To round out the group, I added bass and guitar. The personnel on those instruments (bass and guitar) sometimes changes, but the core of the group is myself, Leslie, Leah and JoVia.

How did you connect with the other members?

Violist Leslie Deshazor and I knew each other from performing in classical ensembles, but I knew that she was also an astute jazz player. Percussionist JoVia Armstrong and I met when we performed in a group that combined house music with jazz. Violinist/Violist Leah Celebi moved to Detroit from California (although she’s originally from Peoria, IL) and we met through an arts organization that she was working for. All of these ladies had two things in common: wide-ranging tastes in music and excellent technique on their instruments. They also could write original music that was challenging and unique for our instrumentation.

Why was the intergenerational aspect of this group important to include?

There’s a 15-year age gap between myself and Leah, Leslie and JoVia. But when we work together, that gap melts away because we’re intellectually, emotionally and musically on the same wavelength. A lot of that has to do with our experiences as Black women.

For this newest project, in*ter*gen*er*a*tion*al, I commissioned three up-and-coming young musicians (all are 30 years old or younger) to write and perform with us: pianist Brendon Davis, singer/songwriter/violinist Alex Way and harpist Ahya Simone. Myself, Leah, Leslie and JoVia are all educators and mentors to many young people (musicians and non-musicians). This project was our way to leave a legacy to the younger generation.

We mentored these three artists in the studio, gave them a producer credit on the album, and paid them well for their work. All three of them said that writing for us was quite a challenge because of the uniqueness of our sound and instrumentation, but all three did a phenomenal job!

Can you tell us about your track Cuban Sunset?

I wanted to challenge myself to write a song with no real melody, but was total improvisation for me on violin. I started with a bassline, and it had a Latin feel to it, in particular a Cuban sound. JoVia always knows exactly what to do to bring the right vibe to a track with her percussion, so that really gave it the flavor I was looking for. All the personnel on the track made the song sound exactly like I envisioned: a laid-back, sexy evening in Havana. I also have to thank Marion Hayden (bass) and Sasha Kashperko (guitar) for bringing their A-game and helping the ideas that I have in my head or on paper come to life.

What do you hope the impact of seeing an all-Black, all-Female ensemble like Musique Noire will be?

The impact has already happened! We’ve been together since 2005 and through our releases and many performances we have so many people of all walks of life that reach out to us and say how inspired they are by what we represent.

At one of our most recent concerts, 18-year-old Black woman came up to me and said she was a violinist and had never seen anyone like us in performance and was so touched and inspired. We truly believe that representation matters and we intend to keep impacting the world through our message of empowerment for artists, for women, and for Black people.

JoVia Armstrong (percussion)

How did you initially get involved in Musique Noire?

Michelle and I had spoken a few times about playing in an ensemble that played world music. We seemed to share the same vision. She actually took the steps to make the idea come to fruition. She called me and a few other musicians. It was not all women in the beginning. We began rehearsing together and we went through a few changes of membership. The group eventually evolved its identity to become a strings and percussion group.

Where did your music career begin, and what have been some of your highlights?

It’s hard to answer where a career began. Does a career begin when you receive payment for services rendered? Art and music are a huge part of the artist/musician, so we’re constantly producing work whether it’s for pay or not. The career seems to slide in there somehow. I can say that my first paying gig was in Detroit in the 90’s, my first time traveling as a musician was 2003, and my first recording was around 2001.

Some highlights were performances with El Debarge and Omar. I learned a lot about patience and professionalism working with Debarge. But playing stages in other countries has been the largest highlight for me. I love meeting people in other countries and learning about their cultures and land.

Can you tell us more about your track “Nirvana -Feast or Famine”?

I was practicing at the piano when I created the chords for this track. I thought it would blend into the sound of this album was less about global music and a little more Black American, in my opinion. It was also more jam based than most of our tunes which usually have challenging arrangements. It made sense to ask Mahogany [Jones] to write lyrics to it because we had been wanting to work with her for years. So, this was an opportunity to do that.

What do you hope the impact of seeing an all-Black, all-Female ensemble like Musique Noire will be?

We have seen the impact for years already. It is empowering. Many people in our audience have approached us individually for private lessons. I think Michelle even has a string group made up of students. And most are adults. Our audience members have also asked for advice after our shows about what instruments to buy their children or even what schools to consider going to for music. Parents encouraging their kids to play is a wonderful byproduct of our performances.

Leah Celebi (viola/violin)

Where did your music career begin?

My career as a musician and as an artist is quite the “kaleidoscope” of experiences (pun intended). I’ve been a freelance musician since my high school days but you could say that most of my professional experience began while in graduate school in California in the early 2000’s. There I played regularly with orchestras and a variety of bands in both Santa Barbara and L.A. Once I graduated, I moved to Detroit, networked my way into the scene here and currently maintain an active freelance career performing with a variety of ensembles on the stage and in the studio.

How did you initially become involved in Musique Noire?

Michelle and I connected through the Sphinx Organization – a non-profit in Detroit that supports diversity and inclusion in classical music through advocacy and programming. She had heard I played and invited me to do a viola demonstration for one of the after-school violin classes she taught for Sphinx. I guess she liked what she heard since she invited me to check out the group and come sit in on an upcoming show with them. The rest is history!

What have been some of your most memorable performances as an ensemble so far?

There have been so many good ones – but I would have to say our recent performance opening up for Samara Joy would be at the top. The crowd was HYPE and witnessing Samara Joy’s artistry was inspiring. Another memorable performance for me, although not a feature performance by the whole group, would be when Michelle, Leslie and I were invited to perform in the ensemble for Aretha Franklin’s funeral. It was a moment in history in the music industry and it was such an honor to be invited to play.

Can you tell us more about your track “Kaleidoscope”?

“Kaleidoscope” was co-written by my husband John Celebi. He is a jazz drummer, pianist in his own right and has written a few different tunes for Musique Noire. John knows our group’s sound well and wanted to give us a song with a sound that was different from the rest of the album. The foundation of the song is an 6/8 afro drum beat feel with a melody inspired by Detroit blues. As the song’s name suggests, as when looking through a “Kaleidoscope” the two worlds are separate but one as the colors weave in and out of each other.

What kind of impact or message does Musique Noire hope to share with audiences, as well as the music industry right now?

Our music represents the many shades of black and brown, cultures near and far, it’s female affirming, it’s original but rooted in the traditions of a variety of genres, and as a string player myself, I hope it inspires other players to step out of the box and take risks. To sum it up I think the message can simply be that there are no rules and anything is possible.

Leslie DeShazor (viola)

Where did your music career begin and who have been your inspirations along the way?

I began playing the viola at the age of 11. I am inspired by so many different musicians but I’ll name the first ones who come to mind: I was in love with the sound of the Uptown String Quartet when I first heard them and then when I learned about each of their careers I was even more inspired. I was very intrigued by Bobby McFerrin as a young college student and listened to a lot of his work. Some of my favorite musicians are: Stevie Wonder, Stuff Smith, Roy Hargrove, Sarah Vaughn, Asegir and Oumou Sangare.

How did you initially get involved with Musique Noire?

Michelle approached me and I loved the idea so I joined.

Can you tell us more about your track “Motherless Child”?

“Motherless Child” is one of my favorite melodies but I wanted to do it as an upbeat tune. I did quite a bit of dance when I was younger and I loved Congolese dance specifically. I used the 12/8 feel from one of my favorite Congolese dances and made the arrangement based on that groove.

Since this is an intergenerational ensemble, what kind of impact or message do you hope you will have on especially younger generations?

I want them to trust that they have something special to share and that above all things it’s what is most important to their contribution as artists. There is a lot to be learned from those who came before so respect and appreciate those contributions, but don’t try to be anyone but yourself.

Can you tell us more about the name Musique Noire and how it is informed by the culture of Black people?

The words mean Black Music. Black music includes a vast amount of music but ultimately it’s rooted in the traditions of our ancestors who were brought here from the Motherland. - GirlTalk HQ