Episode 10 - Allyssa Jones
Episode 10 features Allyssa Jones, a composer, performer, educator, and consultant based out of New Orleans, Louisiana. We talk with Allyssa about her background, leap of faith, and entrepreneurial adventures she has been launching!
To learn more about Allyssa and all the resources and organizations she recommended, check out the links below!
That Spinster Life
Rising Tide Music Press
Carter’s Jazz Clinics
The Spirituals Database
Decolonize the Music Room
Anti-Racism Daily
Cultural Connections by Design
Free People of Color Museum
Treme’s Petit Jazz Museum
New Orleans Jazz Museum
New Orleans Backstreet Cultural Museum
The Historic New Orleans Collection
Opera Créole
New Orleans African American History Museum
Full Transcript
Carrie Blosser 0:01
Welcome to Diversify the Stand, the resource centered around listening, learning and promoting diverse musical voices in music, through our podcast, website, commissioning projects, and more. I'm Carrie Blosser.
Ashley Killam 0:15
And I'm Ashley Killam. Join us on our journey as we speak with composers, creators, performers, historians, and music educators about the topics important to them, and musics betterment.
Today, we are so excited to welcome our next guest, Alyssa Jones. Alyssa is a composer, performer, clinician, and educator who took her own leap of faith to leave the education field to become a composer. She has founded her own consulting business and Music Publishing Company, and I actually work underneath her at Rising Tide Music Press. Alyssa, thank you so much for coming today. And we are so excited to talk with you!
Allyssa Jones 0:59
Ashley, Carrie, thank you for having me. I am thrilled to be here. I'm super thrilled about this podcast.
Carrie Blosser 1:07
Thank you so much for joining us, we wanted to talk a little bit if you would kind of give us a little bit of your background and your journey in music and the career, your career as a music educator, that's transitioned into all of the amazing things that you're doing today.
Allyssa Jones 1:21
Well, you know, it's it's a pretty typical story, you know, young child discovers that she is musical through school music programs and church music. And, and decides that, you know, this is a career path. Parents suggest strongly that, that it's a "we do education, so then a fallback." And, you know, not that I fell back, but I'd always played school when I was a kid, right? So started piano lessons when I was five, singing, in school and in church, all my life, as long as I can remember singing at home, my parents were in band and chorus, there's music, my grandfather's, amazing voice, music everywhere in my family. So you know, it just was gonna naturally be part of my life. But I always played school. So it made sense that music education was on my list of possible career paths. And so it ended up being you know, I ended up loving teaching more than I expected, and figure out a life where I could teach and make my own music. At the same time, which so many of us do that. I mean, that's kind of how it started.
In terms of being a composer, I fell into it, I had this latent dream of being a film composer. And when I was in high school, I remember seeing, you know, the college posters, and so on for Berklee College of Music. And at that time, Berkeley was very different place. And so I said to my choir teacher, hey, I want to go to Berkeley and be a film score major. And he's like, nope, you're going to Westchester University, and you're going to be a music teacher. I'm like, what Dr. Ball? I mean, isn't it my decision? It's like, yes, but that's what you're going to do. And I was like, okay, same for my church, music director and choir director and organiser, the Barrows, and married couple went through Westchester University's amazing music program there. I have a lot of friends that went there. And they said the same thing. So go on to Westchester, like Okay, fine. I didn't. But I did do music ed, and then forgot about being a film composer until the theater community in Boston, found me through networks, and I started doing theater composition, and fell in love. Oh, my gosh, all the kinds of music that I love, all the ways I like to sing, all the ways I like to write, I can do them here. The only thing that matters in musical theater is that you're telling a story and you're telling it well. The rest of it is all personal. It's all up to you. Yeah, there are conventions, and there are sounds that do better than others. But, you know, it's just this wonderful place for all of the ways that I like to function as a musician. So I said, Great, and then started to get so much work that I was just getting in the way of my day job. And that was okay with me. By then I was an administrator. So I left the classroom to district administration so that I could leave one day because as long as I was in the classroom, I was not leaving, because I love kids so much and making music with kids is a blessing. And it's an inspiration and they you know, kept my work sharp, right? Because they're so current and so curious. You have to stay on point. As an administrator, I just had more time for my music making. So it was the whole point of me shifting and then the universe called my bluff. And so I said Okay, here we go. Here we go. 2017 bought to, this, jump. Let's do it. And that's, that's really the whole story. I love being a composer I love, you know, following my whim and, and helping others chase theirs by collaborating on their projects. It's, it's, it's challenging, but it's a good life. And I am, I'm, you know, feel pretty fortunate I could make that choice.
Ashley Killam 5:17
So we would love to hear a bit about kind of how you've transitioned into the consulting that you do now, kind of what you do, what projects you have going on, and who you work with?
Allyssa Jones 5:28
It's so fun, the consulting, transition into consulting was probably the easiest part of my transition out of organized employment, also organized by other people. Um, because I already had a brand as an educator, and so I was already doing a lot of presenting outside of my school district, I was already working on a lot of boards. And so it was a really natural shift when, you know, I let people know that I was freelancing, it started pretty quickly to snowball, in terms of, you know, people, booking sessions or booking, you know, commissioning resources. I also do project administration for other organizations. So I have two admin clients right now, that are pretty big one is temporary, and one is ongoing. I work with right now, my kind of flagship client is Carter's Jazz Clinics, which is one of the resources I want to point to later. But my professor and mentor in jazz, from my master's program in Northern Illinois, Ronald Carter, he is a renowned jazz educator, I see Carrie nodding her head. Yeah, so that's, he's like an uncle to me. And so I did his admin a bunch of years ago for South Shore Cultural Centers, South Shore jazz ensemble, to the gallery 37 program in Chicago. And so, you know, here we are, all these years later, he is finally retired from active teaching at the university level, and is now you know, just doing clinics, he always has clinics, and workshops, and all states and all of that all over the country, and actually, actually, internationally as well. And he's getting tired. He's like, you know, I don't, I don't need to do all of these gigs. And so he's collected his, you know, a team of alums, and other band directors that he's met in his work that he really, you know, respects. And so he's got now this army of jazz musicians and jazz educators to go forth. And multiply that work, right, and all of us kind of presenting and creating resources, really, really from the cultural approach to teaching jazz, right? He calls it the oral tradition. As Africans, African Americans, folks of African descent, call and response and dance are very important. They're central to our music, music making, and that's where jazz comes from. And so his mission is to really invite teachers to teach jazz that way, right? As opposed to from the eyes first. Right? You don't swing with your eyes, it don't happen. Right, the part of your body that swings, that's the part you need to activate. And so you know, it's all about getting there, right, tap your foot with your heel, tap your heel, not your foot, right, keep time that moves your hips. Right? So simple as that, right? Simple as that. If you can't clap on two and four, you know, at minimum, keep time with your heel that's a that's a little free advice for people it'll get you somewhere but so there's Carter's Jazz Clinics and then there are some theatre companies that I work with that I do some admin for, just running projects.
Most of my work is around culturally responsive practice and anti racist practice in education. And then in the arts. That is most of my work. It is a niche I fell into because I have a big mouth. And people just started calling me to talk about the things that I was yelling at them about, like, well, this is great. Now that we're done. Now that you're done yelling at us about this. Can you come and yell at my, not yell? I wasn't really yelling. Sometimes I would, but not often, usually not yelling. So yeah, that's the thrust of my work as a consultant is that that continuum from culturally responsive anything in any industry, right, across industries, to you know, anti racism, period, really specific about it. I'm specific about which groups I'm in concerned most about the work is hand in hand with my work as a composer, right? The reason I decided to take on being a full time composer is because I didn't see myself in education materials, I didn't see myself on my music stand. So I figured I might as well be part of that solution. If I create some stuff, even if one person has me on their music stand, that's one more out there.
Carrie Blosser 10:27
We'd love to talk a little bit about your podcast, Spinster Life. And so in celebrating women who've taken a big leap of faith in their lives, we'd love to talk about the connections that you've made and, you know, things you've learned in that process of connecting to other creatives.
Allyssa Jones 10:46
It's, it is the joy of my creative life right now. And I've just realized it, this last week that that is, that's my mouthpiece now. Right? So I've spent I'm going to back up to my work as a creative, you know, spent all this time trying to be a pop star since I was a kid, right, and then a jazz star and, but it didn't feel anchored to anything. It's like, you know, I'm just doing this because that's what you do. If you musician you try to get into a more, a larger and larger public space, right? There's, there's a trillion of us. So what cuts through the noise and I would try gimmicks and and the gimmicks didn't work. And it finally hit me as I'm preparing to unretire my microphone, and start singing again, making music for me to sing again, that the podcast is so important to me, not only because it's a space for me to tell my story, because it it is and I'm not telling my story through my own words. I think that's really why it's important to me is that it's creating a space for my core audience, which is always been other women like me, right? Since the from the first note I've ever put out into the world. My biggest fans, my biggest supporters have been women my age doing what I'm doing. And so we've all grown up together, right? And so it's silly of me to try to, you know, leapfrog over my own people, my own tribe, right? To make music that intentionally appeals to other folks, I stopped caring about that I'm about to turn 50 this year, I don't care. And so I said, Well, what, what do I want to do? Like, how do I want to release these these songs into the world? And I and I thought, well, gosh, I do song of the week for my own podcast. And out of necessity, I've had to put some of my own music in there because I just didn't have enough to, you know, a library of other people's music to put in. This is well, girl, how about, we use your podcast for your that's your entire creative voice because it's the reason you took your leap of faith.
And so we're expanding the brand, which I'm really excited about. So it's a podcast nestled in a larger brand, That Spinster Life, or TSL. And really, it's about continuing the conversation of empowerment, right? As as you grow as a woman, so it started out as me talking about being and talking with others who were my age and still single, or a divorced or you know, kind of in between relationships. And this season season two, we're going to be releasing hopefully in February. It's, it's not even, it's not about marital status now, it's not about being what people think of as a spinster, right? That Spinster Life is, is really me, it's about my labeling my experience, right. And then talking with people who keep me going in some way or another, planted the flag, talk with other folks who are like me. And so now let's talk with women across generations, who are pushing themselves out of their comfort zones to get something done, who recognize that someday just doesn't come along, you have to actually create your someday. And that takes an amount of courage, you know that a lot of folks don't have or they're searching for it. Right. So I want listeners to be inspired to take a leap, no matter how small, right? The thing that you've been wishing you could do, hey, guess what? You kind of can! It might take a little, you know, work. It might take a little reorganizing of your life, but wishes are no good to be walking around with because they turn into regrets. And, you know, if you wish something, do it and fail at it, that's great because you learn something right or you wish for something you do it and you find out, I actually don't really care about this that much. Right? That's also a success. Wishing for something or wishing to be something or to do something and never giving yourself the space to try that, that's a lifetime fulfilled. Those dreams deferred and those are no good. So it's about that. It's about that. And, you know, if I'm honest, I love interviewing people. I love, I love being a panel moderator. I love all of that. I mean, I just, I'm just so tickled I have my own show to talk to folks about cool stuff that they're doing. That it's really a joy.
Carrie Blosser 15:32
Yeah, that's kind of where we're at, too. We just love a time to hang out with our new friends that we've met because of COVID. So if there's ever like, this is the this is the best, like the best thing for me that can come out of it.
Ashley Killam 15:45
Can you talk about how Rising Tide started? And the importance of a publishing company like that?
Allyssa Jones 15:51
I'm so glad you asked that question, Ashley Killam, General Manager of Rising Tide Music Press. So it started in response to the work that Institute for Composer Diversity does around cataloguing works, right? And for me, I just kind of sitting with this will Where do I find them though, and these are all fairly established, famous, you know, renowned composers by the scads in here, or people who have access to publication. And, you know, I was thinking of thinking about myself and going well, you know, I'm not at a stage as a composer where I would qualify, I wouldn't pass the vetting to get onto that list, right? Because I'm still new in it. And it just struck me, you know, when you make a mid-career shift, even as a musician, there's some credage you have to build, right? And so thinking myself, I've got decades upon decades, and decades of, you know, work as a performer, work as an educator under my belt, and it means nothing. When someone is looking to shop for me, it means absolutely nothing unless I was writing choral arrangements, still as a choir director for that, that, you know, there, there's but I didn't want to do that. Right. If I was doing original choral music, it was limiting myself to that space. And so I said, Well, how am I going to get out there? Where's a publisher that will accept my work? Well, kinda none. Right? Because I'm not some wonder kid coming out of a program. Right? I haven't been, you know, trained up through a system that puts me in front of people who will then pick my stuff up, people forget that, right? It's not accidental, that we hear the people that we hear, right, there are competitions, but there's also introductions, there's those personal relationships involved of their, their teachers and mentors. So if you don't, if you're coming from outside that system, in any art form, or in any industry, actually, you're coming up outside of the training system, the farm team system, for that industry, you don't, it's really hard to catch, catch a break.
And for me a break was simply, you know, a couple people having my stuff. Well, it made that happen. People have my stuff. It's, it's nice, I received some really good feedback and really good kind of traction. And so I thought, well, what about other folks though, right. I don't want someone else like me to give up. And when I think of like me, I think Black, Brown, I think, older, making a career shift. And I think, you know, the first 10 years, and then, you know, taking a step back the first 10 years of anybody's career are really tough in terms of getting and getting a toehold. So what if, what if there's a publishing company that served Black and Brown, specifically, composers who are in their first 10 years of their work as composers? Right. So it's not about your work? professionally, right. So you're it's not about being a new professional as a music maker. It's about being a new composer, regardless of how many years you've had in the industry as a music maker, right? It's kind of like, you know, when, in the film industry, an actor makes the shift to becoming a director, right? That happens after they've been an actor for a long time for very many people. And so people make a big deal of their first films, but they have to become really big actors. And Regina King has done a beautiful film. She has been directing now, but this is going to be her, like her the equivalent of her moon landing, right?
And so what's that for people? Who are mid-career as performers are educators looking to really establish a career as a composer. And then also the young-uns coming up who are coming out of school and need a space. I wanted something that was really intentional in terms of race, right, and ethnicity. really intentional about the kind of oppression I was looking at, right that I've experienced. And so, Rising Tide, we have aligned with Decolonize the Music Room, and borrowed focus, which is Black, Brown, Indigenous and Asian. I've had some people give me feedback about including Asian because, you know, a lot of times Asians get a better break than Black, Brown, and indigenous folks, but Asian is also a really big word. It's not monolithic, right. And so, you know, that descriptor isn't monolithic. So there are pockets within that community that aren't represented as well. Right. And so I really just wanted to have a space for us who are trying to break in and leverage my contacts and my networks as a music educator to get music in front of the people who are asking for it. Right? Educators are yelling lot more loudly than professional ensembles for work by Black, Brown, Indigenous, and Asian composers. Because that hasn't trickled into that space yet. Because we're stuck in the canon. We're stuck in our textbooks. We're stuck in our method books and the repertoire outside that well, then you have to teach the classics, you have to teach the standard. No. Well, I don't know where to find that. I don't have time to look. Okay, so here we go. Right. I'm hoping it will trickle up so that professional ensembles will see professional performers will see also work that they'll want to get behind. And so that's, I mean, that's the premise.
Carrie Blosser 22:04
That's awesome. You're the best.
Allyssa Jones 22:09
Well, I you know, I will accept that with, with a, with a huge amount of humility, because that is absolutely not true. I'm just fortunate enough to have some folks who I could con into helping me make this happen. And hats off to Ashley because her presence in my company means that I get to focus on making music, which I haven't been able to do for about two of the three years I've been in business.
Carrie Blosser 22:41
Are there any resources that you would like to get out into the world?
Allyssa Jones 22:45
So many? I'm so ready for this question. I even wrote things down so that I don't go off the, you know, off on a tangent. So in addition to Rising Tide, and That Spinster Life as resources, because it's really what they are, you know, Rising Tide being a resource for composers and seekers of compositions, right. In TSL, being a resource for female empowerment, and engagement, female, female-identifying empowerment and engagement. Carter's Jazz Clinics, then I'd like to also hold up as a resource for culturally responsive music education, particularly in COVID times. Carter's mission is to help band directors start or deepen their work with beginning jazz students. We have concert band and orchestra directors and choir directors also, who are struggling with how do we keep going in hybrid and online. And it's a perfect time to teach and also a really great format online to teach skills, right? And you really can, you have no choice now, because we can't play together and kids can't hide in an ensemble. So this is a really great space to start that and so he has several books out teaching music, through performance in jazz, right? And so it's about teaching any musical concepts through jazz performance. And also, you know, getting out of the habit with jazz programs of it being about getting ready for concerts, right? There are skills to be taught, there are skills to be deepened. And this is our perspective. And so I really would love for people to check us out. It's also fairly new company, but we have already a library of streaming videos for folks who are looking for a little PD in this area. We'll be releasing more of that. Our instructors are available for avail for private lessons, we'll be doing instant booking for clinics soon so you can literally just go to the website, click on a click on something, and order a clinic - instant order, as opposed to going through some crazy process. So that's a great resource that's cartridge desk, clinics calm.
And then, for me, as an African American, the tradition of African American spirituals or Negro spirituals is very important. It is the precursor to jazz, to urban music. And there's so much beauty to be found there in terms of repertoire. I would like to hold up The Spirituals Database as a really great resource for people. And that's at spirituals-database.com. spirituals-database.com, and it is a really beautiful website. There are others out there too, but this one I love because you can browse the database for pieces, but they also have recommended recordings and video playlist and an audio playlist and album covers and related resources, and poetry and art and the history of Negro spiritual. Just so many ways to engage this music that was created because this country happened. We have spirituals because America, right? And so music making in this in this country needs to include this music, just like it needs to include the music of the indigenous peoples populations that were destroyed, and marginalized. Right, criminalized by the formation of this country. That music absolutely has to be included. Right. And so the best source is THE source. And it's all primary source stuff and great arrangements from great arrangers. And you'll find a host of black composers involved, like you want to find not to say that's all we do, right? We don't all just do jazz and, and spirituals. But if you want some low hanging fruit, and you're not the jazz teacher, and you're nervous about that, do some spirituals by some black arrangers, please. Right? If you're a performer, looking to include that, make sure you're talking with people so that you can have an authentic performance experience. Right, you can present an authentic experience. So those are the ones that I'd like to offer up, those resources. I'd love to see folks just really making use of Carter's Jazz Clinics and the the spiritual database.
Ashley Killam 27:47
Along with the resources are there any groups or organizations that listeners should be aware of? To keep on their radar.
Allyssa Jones 27:54
Yes, yes, yes. So Decolonize, the Music Room, I insisted with them on being their ally, I invited myself into allyship with a group founded by Brandi Waller-Pace, and the lead editor for that website and resources is Lorelei Batislaong. And so Decolonise the Music Room is one. Anti-Racism Daily is an inbox newsletter. There's a website, of course, antiracismdaily.com. I think is what it is. Let me see if I haven't pulled it up here. antiracismdaily.com. Yes. The curator for all of these wonderful articles is Nicole Cardoza, and it's an inbox newsletter. So you can certainly check it out online. But the best way to experience that resource is to subscribe and every day or every week, you can get some really wonderful ratings and resources around your anti racist journey. cultural connections by design is one of the probably the best diversity education company in the country. My dear friend is not just because she's my friend, because I've experienced this learning with her. And I tell you so Dr. Nicole Robinson. Oh, taller now. She just just got married Danny Nicole. She created she created a board game that is modeled on the game of life that has, has players go through all of these scenarios and conditions. That kind of puts, puts people in other people's shoes. Right. And so it's it's a it's a game theory based approach. And so there are various iterations of that there's a group one, where you know, you're playing and everything's on a big screen. They're small ones, a board game version. And then there are immersive workshops she does where it's like you are, it's like escape room, but it's this, right. There's also an intersectionality card game that you can buy. And these are things you can buy, I think that her shop is up, but you can buy the cards as a regular person. And just do this with your class or do this with your team if you work for an organization, it's just really great. But cultural connections by design is the organization the website is ccbydesign.org. Dr. Nicole Robinson, she's published she, you know, she's known for her work with culturally responsive practice and anti-racist education and music. So that's something to look out locally, I've just been really excited to dive into New Orleans culture. As a jazz, trained, jazz musician, African American, classically trained, right. coming to New Orleans, I found the roots of me everywhere, including classical singing, right. And so for folks who are looking to find, you know, kind of primary source inspiration for their work in including that interest, including but building curriculum and practices based on the African American musical experience. The New Orleans Jazz Museum, which is part of the Louisiana park system, believe it or not, so that's how the Louisiana park system includes the New Orleans Jazz museum. So it is a it is a state park, this museum and functions as such, which is really great. That says a lot about how important this music is down here. The free people of color Museum, which talk which tells the story and preserves the material culture. This is their words of free people of color in New Orleans, which is a huge, it's a huge history, enslaved versus free people of color here in this city, and in this part in the Gulf Coast region.
And contributes a lot to the musical conversation. We have, we have jazz, and we have black involvement in classical music because of this conversation amongst the black folk in New Orleans history, in historically New Orleans. The Petite Jazz Museum, just founded by a gentleman named Al Jackson, it's literally a living room turned into a jazz museum. And there's a lot of that down here where people just have the set up places where you can go and have an intimate experience with the history of a thing right to that. The New Orleans Backstreet Cultural Museum is another first floor of a house that preserves the culture of the Mardi Gras Indians, right, and so tells that story. There's more to it than that but that's kind of the centerpiece, you can go and see costumes, the beautiful hand beading and all the all of that craftsmen work, timelines and histories of parades and social movements and all of that. It's really amazing. The founder has passed away, the late Sylvester Hawk Francis. It, we'll see what COVID what happens to that space, it will keep going. It's just a matter, I guess I'll keep my eye on that for folks. The New Orleans Historic Collection, which is our main Historical Society. They have some research around music and whatnot. And then last but not least, is Opera Creole, which is the African American opera company down here. And founded by Giovanna Joseph and her daughter, REM Mason. They present works of African American Black composers of African descent in addition to other things, but that is that's one of their main, main thrusts is to get their hands on that work. A lot, of some of which has never been heard in contemporary calls, right. So those, those are it's a long list, and it'll make sure you get those links but there's some spaces to find some stuff.
Carrie Blosser 34:50
Love it. I love it. I had no idea about the living room history.
Allyssa Jones 34:55
I love this town, every, just everything's a living room that was once I mean, you know, just there's so much as many large spaces as there are, there's so many intimate spaces we can really just really connect with, with what you're seeing and hearing and the people that have curated that.
Carrie Blosser 35:15
So this is the question we're asking everyone. And we would love to know what's on your music stand this week, and how are you diversifying your stand?
Allyssa Jones 35:24
All right, so what's on my music stand this week is a whole bunch of church music. Because I am, I have just been appointed the new music director for the church that I attend, my new church, I haven't been a church music director for a very long time. So I am super excited. I went and like got all kinds of extra hymnals and stuff. And it's a Bethlehem Lutheran Church, which is one of the few historically black Lutheran churches in the country, and survived Katrina, and is known for membership that includes really amazing contemporary jazz musicians. So they used to have this really this huge music program. And after Katrina, things kind of changed. And so now it's in a rebuild the church has been isn't in actual rebuild mode. And we started with our pastor started with a community Meals Program that is taken off. Our community surrounding community of the church expects to be able to go get a good hot meal at our church to go now because of COVID. But once or twice a week, they know that on Wednesdays, I will have a good meal. I know this for a fact. So New Orleans is about food & music. So we've got the food going. So it's time to get the music back together. And so our pastor hired me to do that. And so I got to practice all these hymns and figure out how to play them differently, which is the diversification part, says, as a pianist, I'm a classical pianist who does a little musical theater and little pop and just enough jazz to support myself, you know, if I, if I can't have an accompanist, right.
Not to say that my congregation expects gospel style, but I expect that myself and I was not raised in that tradition. And so for me, diversifying my stand is about reclaiming my heritage that I was separated from, you know, and so I'm going to be listening to a lot of gospel players, a lot of New Orleans players, old school, and just trying to get my hands to sound like my voice because they do not sound the same. So get my hands and my voice to agree on the kind of music we're making at any given time. I'll be really excited about that. So that's how I'm diversifying my stand is reclaiming my own heritage as a pianist, not just as a singer and a writer.
Carrie Blosser 38:14
To learn more about Allyssa, Rising Tide Music Press, Jones Creative & Consulting, or any of the amazing resources that Allyssa shared with us today, check out the podcast description and our website.
Ashley Killam 38:38
Thank you so much for listening to Diversify the Stand. I am Ashley.
Carrie Blosser 38:42
And I'm Carrie. If you'd like to support us and our projects, check out our Patreon www.patreon.com/diversify_the_stand. Also, the link is in our podcast description.
Ashley Killam 38:58
And a huge thank you to Trevor Weston and Whitney George, for allowing us to use their compositions in our podcast. The musical introduction is Trevor's trumpet duet Fanfare for Changes, and the ending music is Whitney's Incantations for trumpet and piano. Both composers websites are also listed in the description.
Carrie Blosser 39:16
Until next time, what's on your stand?