Today we’d like to introduce you to Jaylin Vinson.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
At the age of six, I experienced my first love: gospel music. I was constantly immersed in the music of the Black church; my mother sang in our church’s choir, my brother was our drummer. We were a musical family. While, at the time, none of us were classically trained, we had a musicality that was informed by the music we experienced in a sacred context. That all changed on my tenth birthday when I started to learn the violin. While I was undeniably passionate about performing on this beautiful instrument, I soon discovered an even stronger affinity for music composition. As I transitioned into my teens, the act of creating music became an integral part of my life. It was a creative process that I couldn’t do without, and it eventually led me to Houston. I am currently in my third year of undergraduate at Rice University, studying music composition.
Appreciate you sharing that. What else should we know about what you do?
I’m a composer, or perhaps better described as a sound artist. When people inquire about the kind of music I create, I like to think of it as a conversation of aesthetics manifested through sound—a beautiful dialogue between my deep immersion in Black music and my classical training. Following a long, vibrant heritage of musical expression, I am dedicated to uplifting the narrative element that has always been a part of Black music-making. I am deeply interested in Black stories, Black histories, Black experiences, and Black sensibilities. For instance, in an upcoming project with the Washington National Opera and Project Row Houses titled the Cartography project, I am collaborating with Houston Poet Deborah D.E.E.P. Mouton on an opera that addresses these very ideas.
In this work, we dare to imagine Houston with its first Black Women mayor—a vision that ignites questions about racial and gender equity in our city’s politics. We’re exploring how her story, her existence, can carve out a space for conversations about the not-so-distant future of Black people in Houston. Composing the music for this opera fuels my creative spirit, prompting me to think about how my compositions can serve as vessels for conversations, with Black narratives taking center stage.
If you had to, what characteristic of yours would you give the most credit to?
Community holds a profound significance in my life. I cherish the connections I establish with others. I prioritize making space for others collaboratively within my creative work. In my firm belief, this essence epitomizes the essence of music. As a cultural construct, it thrives as an art form born from collaboration, connection, and empathy. In my personal musical pursuits, the notions of community and collaboration stand as linchpins for my success and serve as crucial drivers shaping the trajectory of my future work. My passion revolves around people, and I aspire for my music to forge meaningful connections with people that I am grateful are listening.
I should clarify my perspective further: I am not overly preoccupied with the idea of people liking my music. Instead, my primary focus lies in evoking sensations that are undeniable. Whether it’s an emotional response, a profound thought, or the irresistible urge to dance, I aim to infuse my music with these elements. This ethos steers my musical creations, and I hope to continue on this path of community-driven sound art.
Contact Info:
- Instagram: Jaylin.vinson
- Youtube: https://youtube.com/@jaylinvinson4144?si=pBdAIfZRnObhkVmE
Image Credits
Brandon Martin
Zeisha Bennett
