Jess Garland: The Intersections of Music and Activism | “I embrace the fact that the society around me does not expect my sound and style of playing.”

By Guitar Gabby, Jennale Adams and Fayola White

As seen in
Guitar Girl Magazine Special Edition – I Belong – July 2023

Jess “JESSSTRINGS” Garland is a singer-songwriter from Dallas, Texas. A multi-instrumentalist, Jess is known for the otherworldly aurora of her harp and guitar creation. Passionate about fighting for racial equity, Jess breaks down barriers in the music and non-profit industries, inspiring young girls to use their gifts to empower those around them through Swan Strings, her organization that provides free and accessible music education to communities.

She is the Executive Director of Girls Rock Dallas, which is dedicated to empowering girls, women, and trans and non-binary people, encouraging them through learning music. She is the epitome of making a statement with her voice. In this interview, Jess shares how her drive for change has impacted the world around her.

How has music been essential to who you are and your purpose?
Music has been a part of my life since childhood, influencing my approach to playing an instrument. From my exposure to the piano, organ, and clarinet, I learned more about my individuality in creativity. Being a creator is the foundation of my purpose because knowing you can make something unlocks new doors to understanding yourself. Creativity can motivate a person to continue learning about themselves and others.

I embrace the fact that the society around me does not expect my sound and style of playing.

How would you say music has allowed you to become the artist you are today? What do you love about being a harpist?
My instrumental background began with classical guitar from college. I knew how to read music, so learning was more accessible; however, I felt confined to sheet music for several years. Playing the harp has allowed me to approach learning the artistry of music freely. I love that most people do not expect me to be a harpist based on my appearance. From my experiences, most people have never seen a harpist in person, let alone a Black women harpist. I embrace the fact that the society around me does not expect my sound and style of playing.

The merriment of your guitar and harp sound is often described as “Avant-garde pop mixed with Ethereal Jazz tones.” Walk us through your creative process, and break down any specific instrument tools you might use to achieve your sound.
Many different forms of art and nature inspire my songwriting process. I delve into these inspirations by journaling or writing poetry. Growing up, I was astounded by Prince and Sheila E. because of the many instruments they played; it also inspired me to want to be a multi-instrumentalist. It’s also fun to use different tools to explore all forms of inspiration. In addition to the harp and guitar, I play bass guitar, dulcimer, ukulele, and sitar. Regarding effect pedals, I use a BOSS RC-1 Loop Station, Way Huge Aquapuss Delay, Ernie Ball Volume, and I just got a Line 6 DL4 Delay Modeler.

Who are a few artists on your playlist that inspired you to pick up the instruments you play? What songs do you think every beginner harpist should have?
Alice Coltrane and Dorothy Ashby are two favorites, although I didn’t learn about them until I played the harp for a while. Later on, I would stumble across Red Garland’s music and be immediately intrigued, obviously by his last name, appearance, and sharing the same hometown as me. I remember listening to one of his stations, learning about his works with John Coltrane, and quickly discovering Alice. I believe my influences on the harp and the order in which I became a multi-instrumentalist are completely ancestral. I was unsure what I would create when I started playing the harp. As I continued playing, I knew I wanted to surround myself with avant-garde jazz musicians and educators to hone my craft; one of those people, Brandee Younger, has a fantastic harpist. I remember finding out about her online and asking beginner harpist questions. She has always been supportive and encouraging.

I encourage aspiring harpists to add these songs to their playlists:  “Journey in Satchidananda” by Alice Coltrane;  “Come Live With Me” by Dorothy Ashby; “Jaya Radha Madhava,” by Radha Botofasina; “Drips/Auntie’s Harp” by Flying Lotus; and “Reclamation” by Brandee Younger.

In what way do you feel classical music lacks diversity regarding the contributions of artists of color?
From my experiences, I have not seen many Black musicians on stage in major symphony orchestras. A part of this is due to lack of access; another part is due to unequal representation and opportunities for the students, musicians, and staff participating in DEI initiatives that predominantly white institutions lead.

Ann Hobson Pilot is a harpist who became the first Black woman principal player in a major symphony orchestra in 1980. It’s 2023, and people are still learning about the term “Afro-Harping,” Dorothy Ashby’s 1968 album. As a society, we need to discuss the implied narrative that particular racial identities are more important than others in this space.

Each night, I was left with some of the most memorable and cherished moments, from getting grounded with the audience to stepping outside of my perfectionism and being my most vulnerable self on stage in tears.

You were recently a part of the all-Black cast for “Luminescence” at the Wyly Theater. This show was presented by the AT&T Performing Art Center’s Elevator Project and sponsored by the City of Dallas’ Offices of Arts & Culture, and you debuted your new 3D-printed sculpture laser harp. Talk about “Luminescence” and some of the most memorable moments of your performance.
This was my first time producing and performing in a three-day concert series in a theater setting. Each night, I was left with some of the most memorable and cherished moments, from getting grounded with the audience to stepping outside of my perfectionism and being my most vulnerable self on stage in tears. Every night, someone told me they cried, and I still receive calls and messages about the concert series.

How long did it take you all to prepare for the show?
Preparing for Luminescence was a year-long process for a three-day, 90-minute performance that included a new instrument, the 3D-printed laser harp. The biggest thing I learned was to step outside of being a one-woman band and rely on my support. As a Black woman, I am used to doing everything myself, and I like to be in control. However, this concert series allowed me to be more collaborative, build new relationships and exercise trust. It was a beautiful experience.

What was it like to play a 3D printed Harp? How does it compare to your natural harp?
I worked with Eric Trich, a long-time friend and frequent collaborator, on the 3D-printed harp. Eric also provided the visual projections for the performance, which is how people are most familiar with our previous collaborations. The 3D-printed harp was years in the making, and we could manifest it through Luminescence with a statement. We worked countless times on the design and ergonomics before he started to print the instrument. It is very different from a natural harp in that it does not have strings; there are only laser beams. However, it is programmed to be played chromatically using Ableton to use whatever samples I choose. It is also similar in design to an orchestral pedal harp and a 36-string lever harp size. We both wanted it to have a futuristic appeal while including art deco and art influences from the Harlem Renaissance. We chose the color red as the resin is translucent, and it is a color of action because I knew I would use it to shine a light on racial inequity in the Arts District in Downtown Dallas.

Do you believe that the message of racial equity and inclusivity was heard through your performance? How can the Arts District in Downtown Dallas improve and acknowledge the lack of racial equity in the Arts District?
The Arts District opened the same year I was born in 1984, and is home to mostly predominantly white institutions. However, it has Black history with being the first Black high school in the ‘20s at Booker T. Washington High School of the Performing and Visual Arts. It was also home to the only YMCA available to Black people while being adjacent to a Black neighborhood and music community of Deep Ellum. The Arts District can improve by not tokenizing or tone-policing local artists, musicians, and staff. Another way is by compensating local artists, musicians, and staff fairly. Lastly, being open to new sounds and art can create opportunities for local to international artists. I’d hope to see more equitable funding and access to venues for Black musicians, artists, and non-profit organizations in the future.

How do you feel your performance has changed you?
The 3D-printed laser harp has given me a new voice to express my ideas and thoughts that matter. The performance and support have given me more confidence to expand my education practice and discuss uncomfortable topics such as race.

You had the opportunity to collaborate with new media artist Eric Trich on this performance; what was it like to work with him, and how did he help bring your vision for Luminescence to life?
Eric is like family, driven by purpose and not ego. He is the most accessible new media artist I’ve worked with in my experience. We make a great team because we listen to each other, and there is mutual respect for our roles. He played one of the most significant roles in bringing Luminescence to life, from sculpting and printing the harp to his visual projections that assisted storytelling and providing ambiance.

Creative expression is important because if we can dismantle the notion that music as a universal language is linear, we can truly learn more about each other without fear. 

Swan Strings has a mission to teach students how to create pathways in the performing arts — providing representation for diversity and equity in music education and the community. What steps can the city of Dallas take to encourage diversity and equity in its arts education programs? Why is creative expression so important when teaching your students the value of music?
Taking additional steps beyond programming is so important. Most organizations still need representation and opportunities post-programming. Creative expression is important because if we can dismantle the notion that music as a universal language is linear, we can truly learn more about each other without fear.

What has been the most rewarding part of sharing your knowledge through the lens of music with your students?
The most rewarding part of teaching any instrument is seeing the different kinds of impacts that it makes on a student that is not musical or creative. It is the moment when the person starts to see themselves. I love teaching guitar because it is the most accessible instrument to start the learning process.

Your most recent TEDx Talk, “Facing The Music: Finding Your Purpose,” was impactful and gave the audience a new perspective. What message were you hoping to leave with the audience?
My TEDx Talk was directly tied to my purpose and mission. It is less about music and more about facing ourselves and our place in this world. I am grateful that I shared my story and hope it can continue to be an inspiration for years.

In 2021, Wild Turkey’s Creative Director, Matthew McConaughey, awarded you the Local Legend award in Nashville, TN, for keeping the music alive in Dallas. Can you talk about how you have positively uplifted the Dallas music scene?
I helped uplift the Dallas music scene by being able to play different kinds of instruments and genres, and my passion for community drives it. I do not operate in scarcity or competition because it does not positively serve our community. There’s enough for everyone, and I see the benefits of operating outside of silos and the overlap of communities. I used the funding to give to Deep Ellum 100 to produce an album titled Sounds of Deep Ellum. Deep Ellum’s history was a freedman’s town and, in the 1920s, was a destination for jazz and blues musicians. As an album sponsor, it was important to me to be sure that there was the presence of Black musicians that helped create today’s Deep Ellum music scene. I hope it changes the direction of gentrification in the neighborhood currently affecting the community.

You were recently appointed Executive Director at Girls Rock Dallas (GRD). What is your vision for the organization, and how can people get involved?
You can support Girls Rock Dallas through Swan Strings, as our organization has absorbed GRD as many Girls Rock camps across the globe have been dissolving. I have worked as the Treasurer of the Girls Rock Camp Alliance Board of Directors and with other industry entities, like TxLips Consulting Group, to provide global resources for sustaining Girls Rock Camps. We will continue providing the yearly summer camp because young girls and gender-expansive youth need a dedicated safe space in music education. Historically, the voices of Black women, Black trans women, and gender-expansive people have been excluded in social justice movements, and it affects the equity that can currently be seen in the music industry, education, and DEI programming.

What’s on the horizon for Jess Garland, and what can we anticipate seeing from you in the near future?
You will see more of the 3D-printed laser harp. I will continue to shine a light on issues impacting our communities. I am releasing my EP, GLOW, later this year. During the pandemic, I debuted my single in 2020 and am ready to drop the entire project. The sales from the EP will benefit Swan Strings’ programming.