Music
Twenty-five years in performance, direction, and arrangement, with a specific point of view on how classical technique can clean up a gospel sound without taking the fire out of it.
01 · Journey
Music was in my house before I could hold a tune. When I was three, my mother made me a small choir uniform because I cried every time she left to sing with the church's ladies choir. So I sat on her hip through rehearsals, unbeknownst to her, listening and learning closed gospel harmonies. Whatever I know about blend, I learned there first.
By thirteen I was directing my first choir. Over the years I've directed or founded seven gospel choirs across St. Vincent and the Grenadines and the United States, including the LNTCG Youth and Mass Choirs, the New Life Music Ministries Tehilla Children Choir (which grew into Exalt Him Ministries), the SVG Mass Choir, and the Montgomery College Gospel Choir. I also co-founded the a cappella group B Natural during that same season.
The classical side came later. I earned an Associate of Arts in Music from Montgomery College and a Bachelor of Arts in Music Science from Columbia University in the City of New York. At Montgomery College I served as section leader and sometimes vocal arranger for the Chorus, Chamber Singers, and the World and Jazz Ensembles. At Columbia I sang in the Columbia University Choir. My classical repertoire runs through Purcell, Scarlatti, Fauré, Mendelssohn, Schubert, and Vaughan Williams. Learning to sing that music at that level is what changed how I hear gospel, and it's what I bring to consulting work now.
Alongside the performing, I've stayed close to the wider ecosystem. I've sung twice at Carnegie Hall as part of the Masterwork Festival Chorus, served as a Carnegie Hall music ambassador in New York, and joined the American Musicological Society. Music has never been a hobby beside the design career. It's been the throughline.
02 · Engagements
Every engagement is scoped to what's in front of me. What follows are the shapes these usually take.
Section blend, breath and vowel alignment, and tone placement across sopranos, altos, tenors, and basses. Scoped to the group's size and preparation stage: new anthems, seasonal programming, or long-term technique development.
Tight harmony under live microphones, ensemble breath timing, and cleaning up the mix from the stage before it ever hits the board. Especially useful in the weeks leading up to a launch service, a conference, or a recording.
Small-ensemble blend, custom arrangement work, and the classical techniques that let a group sing together instead of near each other. Sessions can double as rehearsal for background vocal sessions or upcoming performances.
Branding, marketing, analytics, and generative AI strategy for labels, managers, and event teams. Album rollouts, tour campaigns, audience dashboards, and pitch decks: the same tools I bring to corporate clients, applied to the music business.
03 · Focus
Across every workshop, I teach one thing in different words for different rooms: gospel doesn't have to trade precision for power. Both live in the same room, if you know how to invite them.
The techniques classical training gives singers (breath control, vowel unification, precise onsets, honest ensemble blend) aren't decorative. They're the tools that let a gospel choir be heard as one voice. When a section stops fighting for room and starts placing tone with intention, everything downstream changes. The soloist has real support. The band has a wall of sound to sit against. The words come through.
Harmony and blend are where I spend most of my teaching time. That's where the sound is actually made.
04 · Performances
A few appearances, from my sophomore-year classical recital to a Caribbean tour that closed out 2025 and opened 2026.
A recital from my sophomore year of undergraduate music studies.
A joint recital with the Vincentian-born classical pianist Sean Sutherland (Van Cliburn International Amateur Piano Competition semifinalist and Chopin International Amateur Competition prize winner), alongside vocalists Addison Stoddard and Zina Edwards.
A solo appearance at James Street Methodist Church, closing out a short Caribbean tour. I was fighting an illness through the season, but the room was worth pushing through for.
Next
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