Following in the footsteps of legends like Alice Coltrane and Dorothy Ashby, harpist Brandee Younger has transformed one of the world’s oldest instruments, bringing it into the modern era. By blending innovative techniques with jazz and beyond, Younger continues to push musical boundaries.

Listen: A conversation with harpist Brandee Younger

The following interview has been edited for clarity and length.

On how her music journey started long before she began playing the harp:

I’ve always been deeply involved in music. In high school, I was voted most musical—not for the harp, but for playing the trombone in the marching band. My first instrument was the flute, but we had too many flute players, so my teacher asked if I’d switch to trombone.

The harp came into my life through a woman at my dad’s job who played it as a hobby. My parents, knowing my musical interests, introduced me to her. We played some flute and harp duets, and she suggested I take lessons. She mentioned that with the right skills, I could even get a scholarship—and that’s how my journey with the harp began.

On how she got her start releasing music by acting on the advice of her mentor, saxophonist Ravi Coltrane, and recording her debut project, the analog-driven “The Prelude” EP:

I wanted to record music but wasn’t sure where to start. I told Ravi Coltrane that I didn’t feel ready to make an album. He reminded me that recordings capture where you are at that moment, and that helped me shift my perspective.

So, I went into the studio, wrote a song called “So Alive,” and recorded a few standards. I sent the demo to Casey Benjamin, who told me, “Don’t make demos, just make albums.” That advice stuck with me, so I decided to put the project on Bandcamp. Music blogs picked it up quickly, and I made my money back fast. That’s how “The Prelude” EP came to life.

On how blending contemporary styles with the timeless sound of the harp has made her an in-demand session musician:

I’ve always loved recording more than performing, so I focused on becoming a session musician. I wanted the harp to be part of the music I was listening to, which wasn’t the classical music I was studying. By recording with artists who were making the kind of music I loved, I created a space for the harp in contemporary genres. This approach laid the foundation for the music I create today.

On how Detroit artists like Alice Coltrane and Dorothy Ashby have influenced her approach to the harp and why she celebrates their legacies:

This has always been intentional for me. The harp is often seen as a classical instrument, and I felt it wasn’t getting the respect it deserved outside of the orchestra. Dorothy Ashby’s discography is incredible, and her level of playing was unmatched, yet she wasn’t recognized the way she should have been. The same goes for Alice Coltrane. Early on, I decided to honor their legacies by including their influence in everything I do — whether through playing their compositions or creating new works inspired by them.

On how she continues to honor the legacies of Alice Coltrane and Dorothy Ashby on her latest album, “Brand New Life”:

With “Brand New Life,” I wanted to pay homage to Alice and Dorothy, but without making it a straightforward tribute album. We recorded some of Dorothy’s compositions that had never been recorded before, literally giving them a “brand new life” (no pun intended as she laughs). It’s a way of continuing their legacy through my own lens.

On how she wants audiences to experience her music through her ongoing tour, newly reformatted trio, and meaningful connections with artists and fans:

I want the music community to feel the sincerity in my work, especially now with my trio. Downsizing from a larger group to just three of us has been incredible. We have such a strong dynamic, both on and off the stage. It’s been a rewarding experience, and I hope that connection comes through in our performances.

To stay updated on Brandee Younger’s tours, events and releases, visit brandeeyounger.com.

Born and raised in Brooklyn, the daughter of Haitian immigrants, Melanie Charles grew up in a one-bedroom apartment in the projects before her family of 10 moved to Bushwick. From those humble beginnings, she found her way to jazz, studying at LaGuardia High School and later at The New School for Jazz and Contemporary Music. Her path was unconventional, but she honed her craft and developed a penchant for blending jazz fundamentals with innovative beat-making, reimagining classics through a modern, exploratory lens.

1. “Without Us”

Her breakthrough came with her independent release The Girl With The Green Shoes — a criminally underrated album where she wove together her voice, flute, sampler and a variety of effects to create a deep, immersive, lo-fi quasi-mixtape experience. 

2. “Detour Ahead”

The Girl With The Green Shoes caught the attention of Verve Records, leading to her signing with the label. As she began work on her debut, however, tragedy struck: Breonna Taylor, a Black medical worker, was shot and killed by police in Louisville, Ky. during a botched raid on her apartment, touching off wide-scale demonstrations that erupted that year over policing and racial injustice in America.

Taylor’s death served as a harsh reminder of the fragility of Black women’s lives in America. Charles channeled her pain and passion into her music, titling her Verve debut, Y’all Don’t (Really) Care About Black Women. It was a bold statement that made Verve hesitate, but she stood firm, and they ultimately backed her.

3. “Jazz (Ain’t Nothing But Soul)”

In addition to making a poignant statement on racial injustice, Charles also pays tribute to the underappreciated Black women in jazz, reimagining the works of legends like Billie Holiday, Ella Fitzgerald and Betty Carter while making a powerful statement about the ongoing struggle for recognition and respect.

This album became a manifesto for fair treatment and recognition of Black women in the music industry. It didn’t just resonate within the jazz community — it sparked a movement. Her fearless approach earned her collaborations with legends like Wynton Marsalis and solidified her place in the new and emergent jazz vanguard.

4. “I Need Time”

Her innovative style, combined with her commitment to activism, places her among a new generation of artists, such as Theo Croker, Ego Ella May, Kamasi Washington and various others who are redefining jazz. She’s not just making music — she’s making a statement, whether it’s through her work with her podcast project “Make Jazz Trill Again,” or through her electrifying performances. Melanie’s music is a call to empower and uplift Black women, celebrating their resilience and creativity.

5. “Damballa Wedo”

Melanie Charles will be performing at this year’s Detroit Jazz Fest on Saturday, Aug. 31 from 7:15-8:30 p.m. on the Carhartt Stage.