The relationship between music and time has served human form symbiotically for millennia. Indigenous cultures developed an impenetrable bond with sound made by the interplay of humanity with nature. In the essence of the gum from the acacia tree, we have extracted sound from its nucleus and applied it to our subjective interpretations of sonic expression. For centuries, space and time have been contentious in a marginalized reality for Black people dispersed globally through colonialism, yet Black music stretches these margins, to bring us revelations in expressing sound and space. Thelonious Monk used this masterfully with a technique that, albeit unconventional, was a generation ahead of his time. Black Quantum Futurism, the amorous work of contemporary artists Moor Mother and fellow afro futurist, and attorney Rasheedah Phillips, has coalesced past, present, and future traumatic experiences of Black society into ethereal forays of interdisciplinary art. Incorporating the macro perspective of time, it is all relatively simultaneous. Past trauma, and colonial oppression exist within the quantum phenomena, and therefore can transcend the spaces negated from Black culture through music, art, film, and prose. With the ominous lyric “Allow time to emerge from its timeless degrees of freedom. And take up as much space within the moment as desired and needed,” Moor Mother liberates space and time from it’s limited Western framework. Colonial infrastructures, such as the Jim Crow laws, have repeatedly denied physical space to people of color, while their spiritual space was mitigated with the camouflage of the bourgeoisie. Yet quite auspiciously through music, artists like Moor Mother and now JoVia Armstrong, become alchemists to create soundscapes without boundaries. Within lies the space. The space lies within.

Percussionist, composer and technologist JoVia Armstrong, with her Eunoia Society, has arrived with her third album, Inception (Black Earth Music, 2023), a viscerally transformative album that transcends the space time continuum in novel ways. Inception is an invigorating journey that traverses the synchronicity of composition with improvisation. It is a work created with emotional and historical force that highlights the catharsis of humanity and nature.

The AACM (The Association for the Advancement of Creative Musicians) continuously attracts sound artists like JoVia that use intuition, emotion, and innovation to convey messages to multitudes of discerning listeners every year. JoVia Armstrong eloquently utilizes her abilities as a composer, healer and educator to breathe life into sonic tapestries that beckon her intuitive nature. Unfolding the layers of perception is something JoVia has mastered with her compositions. What she’s creating doesn’t exist within a vacuum. It transcends the occupied spaces of colonialism, and confronts colonial interpretations of Black art and society. How does an artist merge what is written with what is heard and not seen? Accentuating the interplay of standard composition, and improvisation is superbly done on her latest album. Previously we were given an amuse-bouche of egalitarian acceptance with The Antidote Suite. Lush textures that exposed the carnality of black trauma, and non secularized influences. Inception utilizes the motifs of self actualization through meditation, repetition, and reverb delivered with subtle tenderness from a formidable cast of musicians.

Inception for all intents and purposes was developed as the predecessor to The Antidote Suite. Still growing as part of the Black Index Art Exhibition this endeavor finds JoVia exploring her emotions to create a vehicle for her audience. The rawness of humanity coupled with her limitless gift of connection has allowed her to incorporate fresh sound palettes from amazing musicians. Leslie DeShazor (violin) shimmers with drone melodics, and a meticulously clever approach to her delivery. Damon Warmack (bass) sets a firm foundation with JoVia’s kit. It’s a special relationship reminiscent of Stanley Clark, and Chick Corea. But also with the genius level reckless abandon of Mahavishnu Orchestra. Sasha Kashperko (guitar) establishes reflection with reverb, orchestrated drone scapes, and the ability to manipulate space.

Opening with “Creation,” the ritual begins. Damon Warmack has an unmatched fervor, and consistency on bass that is coupled effortlessly with JoVia’s hybrid cajon kit. The five string violin played by Leslie DeShazor clears the introduction with a tabula rasa welcoming other sonic textures. Subjectively captivating, and hovering above a mountain of found happiness the soundscape evokes the progressive jazz fusion of Marc Moulin, and the expressionistic possibilities of Tony Allen. Much like Tony Allen, JoVia’s tonal range is powerfully reserved with the efficacy of stellar constellations.

In the second movement, an attractive rise in the tide of her creative process lends itself so elegantly with “Embryo”. Finding happiness, and joy through meditation and contemplation. Contemplative reflective analysis pushing our perception of the space allowed for such a delicate song. It is therefore a deep dive into her methods of self actualization through her collaborative efforts with her fellow artists of Eunoia Society. “Embryo” creates muscle memory, and is pure brain food. There is never a hesitation to put this track on repeat as it is cathartic by nature. “Embryo” is liberated. It is Alpha, and the beginning of a cycle with a foundation of musical gestation. Permeating drone motifs compose the silent space being filled with strings, cymbals, and cavernous reverb. It is a song bearing complete fluidity. Day or night, within benevolence, or pain this song can be played being mindful of time and space. JoVia once spoke anecdotally about a certain octogenarian with his wife enjoying the music she was sharing at a concert. The gentleman had a visceral reaction, and wept tears of joy. At just over three minutes “Embryo” is equally apropos.

“Birth”, the third movement completes the first triptych of songs. “Creation”, “Embryo”, and “Birth” brings the listener into the sacred, empty space. The gestation period until the first breath is ultimately taken. With much patience, repetition, and collective responsibility JoVia is fearless with her compositions. Time is not a factor within her musical structure because it can only be liberated through the absence of finite possibilities. Her identity is present. As a music technologist she is at the forefront of bringing new ideas to her colleagues, and fans. She has a firm mental grounding in the existential nature of her community.

“Curiosity” opens the final triptych of songs all woven seamlessly as a crescendo of exploring childhood memories, permeating into reverb and spatial play with the strings. A dance of delicate, yet precise proportion is tactfully passed on to a tableau of strings perfectly composed on “Hide Then Seek”. The song title of this final movement suggests a double entendre of sorts with a familiar phrase changed by one word. It addresses the interwoven experiences of childhood as a catalyst for self actualization. There are issues of spiritual displacement, and discovery that are addressed by way of a collective force of amazing artists of Eunoia Society curated by JoVia.

A dichotomy presented itself with a new position as an assistant professor of music at the University of Virginia. A certain musical acumen must be reached in the circles of academia for mere acceptance. However there is a space in between that is empty, and malleable. Scholars will inevitably site it as improvisation for referential purposes.

With music as an ominous force in her life, JoVia has brought to fruition her childhood dreams of immortality through the animation of Inception. Ultimately, JoVia has become the super hero to save us with music that comes from another time, and place.

Jason McDaniel