On today’s episode, we’re joined by violinist, writer, and cultural historian Rosalyn Story.

For more than 30 years, Rosalyn Story has performed violin with the Fort Worth Symphony — but her artistry doesn’t stop there. She’s also a novelist, a journalist, and a passionate keeper of Black musical history. Whether chronicling the legacy of opera trailblazers like Sissieretta Jones or guiding students through the soundscape of African American music, Rosalyn brings a rare kind of dual fluency — one grounded in both performance and storytelling.

In this episode, she shares how a $0.75 violin class in Kansas City sparked a lifelong passion, what it meant to be the only Black musician in the room, and how music — especially jazz — continues to sustain her in moments of grief and resistance.

It’s a conversation about resilience, reverence, and the many ways we remember who we are — through sound, through stories, and through one another.

In today’s episode, we’ll meet 23-year-old Quenton Blache, a remarkable cellist and composer. Quenton has performed with prestigious groups like the National Youth Orchestra of the USA and Sphinx Virtuosi. He has also been commissioned to create works for the Sphinx Virtuosi, North Carolina Chamber Music Institute, and Little Orchestra Society.

We'll explore Quenton's journey, listen to some of his works, and, at the end of the show, premiere his brand-new piece.

On today’s episode, we’re talking with Beverly Kane Baker—a pioneering violist whose career has spanned decades, stages, and generations. From her early training at Juilliard to her role as principal violist with the Virginia Symphony Orchestra, Beverly has carved out a legacy grounded in excellence, community, and spiritual purpose.

In our conversation, she reflects on growing up in a music-filled neighborhood, the mentors who shaped her, and the values of discipline, service, and joy that continue to guide her life. We also talk about what it means to show up—fully and authentically—as a Black woman in classical music spaces, and how she continues to inspire the next generation.

On today’s episode, We’re highlighting the Gateways Music Festival — a powerful meeting ground for Black classical musicians from across the country. It’s more than a festival. It’s a home. A reunion. A proving ground.

You’ll hear from four extraordinary artists who carry that legacy forward: Alex Laing, Curtis Stewart, Melissa White, and Damien Sneed.

From world premieres to reimagined classics, from personal reflections to artistic breakthroughs — this episode is a window into the soul of Gateways.

On today’s episode, we’re talking with Carlos Simon—a Grammy-nominated composer, cultural storyteller, and one of the most influential musical voices of our time.

Carlos’s music blends gospel, jazz, classical, and cinematic soundscapes to tell stories that speak to our collective memory, our spiritual traditions, and the urgency of now. From his work with the Kennedy Center and Boston Symphony to his bold compositions like Requiem for the Enslaved, Amen!, and brea(d)th, Carlos is using music as a form of ministry, resistance, and joy.

We sat down ahead of the upcoming premiere of his monumental new work, Good News Mass, commissioned by the LA Philharmonic. It’s a gospel-infused reimagining of the Catholic Mass that features spoken word, orchestral brilliance, and visual storytelling—anchored in the Black sacred tradition.

In this conversation, we talk about the creative journey behind Good News Mass, what it means to compose from a place of faith and ancestral presence, and how Carlos continues to push boundaries while remaining deeply rooted in purpose.

Today, we’re joined by a rising star whose artistry is captivating audiences worldwide—18-year-old pianist and composer Rhyuhn Green. Born and raised in Philadelphia, Rhyuhn has already made waves with his award-winning single Symbiosis, featured on NPR’s Tiny Desk and From the Top, as well as performances with the Philadelphia Orchestra and Curtis Institute of Music. A Kovner Fellow at Juilliard, Rhyuhn’s talent extends beyond classical music—his work fuses jazz, rock, and R&B, showcasing his versatility as a producer and performer.

Rhyuhn is stepping into a new chapter with the release of his first album, Pheonixes—a bold statement on rebirth, resilience, and creative evolution.

On this episode, we’ll get to know Rhyuhn, hear his music, and explore the inspirations behind Pheonixes.

Pheonixes is out now available everywhere. 

This month, we’re bringing you an extraordinary episode of Black Music Seen, recorded LIVE at our BON Summit this past October!

Featuring two brilliant scholars: Dr. Matthew Morrison and Dr Richard Desinord, we explored the obstacles that hinder the integration and expression of Black cultural aesthetics in so called classical music.

What do we mean when we talk about “authenticity” and “aesthetics” in Black music? How do we continue to bring more Black culture into classical music? What can we learn from those who came before us?

Black cultural aesthetics are in focus in this episode.

🎧 Don’t miss this special episode of Black Music Seen, where live energy meets academic brilliance, offering a fresh perspective on the art we celebrate.

On today’s episode, we’re talking with The Uptown String Quartet, a group that was formed in the 80s and guided by the legendary American drummer and Composer Max Roach. The group started as a double quartet that played with Max’s band and later became a group that consisted of violinists Diane Monroe and Lesa Terry, Max’s Daughter - Violist Maxine Roach and their late colleague, cellist Eileen Folson.

This all-Black, all-women string quartet has pushed boundaries and redefined what it means to be virtuosi since the mid-80’s. From their roots in Harlem to stages across the globe, the Uptown String Quartet was one of the first groups to notably bridge African-American sounds - like blues, swing, jazz, soul, funk, and improvisation with string quartets.

From playing jazz venues like the Blue Note to performing notable programs like The Cosby Show and Mr. Rogers Neighborhood, we’re going to explore the quartet’s rich history, their memorable moments, and the unique stories that have shaped them as artists and as trailblazers in the music world.

Black Music Seen presents a special episode in celebration of Hispanic Heritage Month! 

This episode of Black Music Seen is a heartfelt tribute to Pete ‘El Conde’ Rodriguez—the legendary Afro-Latin salsa singer whose legacy has shaped generations. In this episode, his children, Cita Rodriguez and Pete Rodriguez Jr., are joined by their cousin, Emilio Carlo, the Black Orchestral Network’s Director of Projects and a classically trained violist, to share insights into their family’s cultural influence and the power of Afro-Latin music.

On today’s episode, we’ll meet George Lewis. A Chicago-born trombonist, technologist, musicologist, and composer. 

He’s the Artistic Director of the International Contemporary Ensemble and the Edwin H. Case Professor of American Music at Columbia University. He’s widely recognized as a trailblazer in modern music, particularly for his groundbreaking work in creating computer programs that improvise alongside human musicians in live performance.

Over his remarkable career, George has explored the vast possibilities of sound through electronic and computer music, multimedia installations, and both notated and improvised forms. His innovative contributions are documented in more than 150 recordings.

George's achievements have earned him numerous accolades, including a MacArthur Fellowship, a Guggenheim Fellowship, fellowships from the National Endowment for the Arts, and honorary doctorates from Harvard University and The Curtis Institute of Music. At 72, George continues to be a dynamic force in music, with his work being performed and premiered all over the world.

Today we’ll get a chance to talk to George Lewis about his upbringing, learn about influential forces like the Association for the Advancement of Creative Musicians or AACM. We’ll learn how George designed electronics that can improvise with humans live in concert. And, we’ll hear his music.