1. The new album has taken you ten years to complete and is described as having ‘laser-sharp focus and intention’. Can you tell us about the new album and how that focus and intention is presented in the album?

This is my debut album and I wanted to make sure that my very first artistic statement as a leader reflected myself and my music. I chose specific musicians to play with me: Michael Davidson on the vibes, Dan Fortin on bass, Thom Gill on guitar, Marito Marques on drums and special guests João Frade on accordion and Felicity Williams on vocals. 

The album is an expression of the music I have written over the course of the last decade. These compositions have been through many different iterations, arrangements, have morphed and been distilled to take shape and fit on this album. They also reflect the changes in me that have shaped my existence over the past decade; a lot of the themes have shadowed me and evolved dramatically as my human experience has shifted. Time has coloured these ideas, bringing a level of depth and nuance that may not have been so clear to me those years ago.

2. The lineup for your new album is wonderful. Can you tell us how the musical relationships with those musicians were established and what the recording experience was like?

Finding the right collaborators and bandmates can take a lot of time. For me, it’s about establishing trust and building a healthy relationship with my bandmates – I think this contributes to stronger music making. Because we recorded in the middle of the pandemic, I took advantage of a new process. We went to a studio in a small town, by the lake, and we stayed there for a week. Having the chance to explore and develop this music in the studio was an exciting approach for me. I had never had the chance to do this before and had always been told that pre-production is what will determine the success of your recording. I found it refreshing to record in this way – to actually be able to be somewhat spontaneous in the studio and discover sounds and even other instruments (the theremin!) to add to the mix.

3. You studied with Sara Caswell, Sy Johnson and Aki Takase and your bio states that this had a ‘profound impact’ on your musical trajectory. Can you define that profound impact and how this has shaped your journey?

Having different perspectives is so important when you’re learning about yourself and your craft. Having these very diverse musicians, multigenerational voices lend me their wisdom is something I cannot be thankful enough for. Sara was instrumental in pushing me to transcribe pieces like Chick Corea’s Samba Yantra, a piece I would never have imagined playing on the violin. Sy and I worked on a lot of arranging and composition – we spent hours in his Upper East Side apartment, where the bathtub was in the kitchen, talking about Mingus’ music and discussing and playing a lot of music for each other.Aki is a wonderful composer and pianist. Her approach to spontaneous music making really inspires me. She has a way – sort of in the same vein as Mingus – to weave in and out of the unexpected but always finding a safe space.

4. We are all inspired by many legacy artists and with your work Monk, Mingus and Ellington have a strong presence in your compositions. What is it that connects you to these artists?

With these three in particular, it’s their approach to composition vs improvising. They each have such a unique and particular way of playing their instrument but that also transcends into their composing. I find them to be inspiring as they never compromised. Mingus was always involved in some sense in the political side of certain aspects and I really do see music and art as a way to connect us in difficult political situations.

5. “Aline’s étoile magique” was created with a reference to ‘the stark and low presence of women in the improvised music scene.’ This is a topic that we could and should explore in depth, but for now, could you share some of the thoughts and experiences you have had in the improvised music scene as a female violinist and how this has inspired the album?

Being a violinist is already a rare thing in the jazz community and being a woman violinist in the jazz community is quite unusual. Especially where I live, in Toronto. The community is welcoming however, it always seems to take a bit more effort to prove oneself in this position. I think the album’s music has a lot to do with me finding a way to express myself in my own way… to be able to play my music with people I admire and respect and who respect me too is such a gift.

6. You are also very passionate about creating fair-pay opportunities for underrepresented musicians in the community. Can you tell us about some of the initiatives you have created?

In Canada, we are very fortunate to have a robust government arts grant system. It’s a system that pushes artists to think creatively in order to help grow and strengthen our communities. Because of such funding, I have been able to produce concerts and series that highlight underrepresented musicians while being able to shine a light on the financial struggles that some experience. The living and housing situation in Toronto is in dire need of a boost – so many artists (and others) have been pushed out of the city and we are really seeing the start of lifeless communities.

7. You have been performing at some great festival across Canada over the summer, any plans for performances outside of Canada?

I am really hoping to be able to share our music internationally! Booking this tour, all on my own, was so much work that I have needed to take a break from some of the administrative side of things. But I am hoping that this album will also connect me to agents and others who are interested in seeing this project grow and reach other countries.

8. Jazz violinists are still quite rare, who have your violin inspirations been?

Growing up, my father made sure my sister (who is also a violinist) and I were exposed to violinists from all genres. We listened to a lot of Stuff Smith, Joe Venuti and of course, Stéphane Grappelli. Later on, I discovered Regina Carter and I started to enjoy playing along with her recordings and lifting her solos. In college, I had the opportunity to play a lot of the Mahavishnu Orchestra’s music so I was exposed to Jerry Goodman and of course, Jean-Luc Ponty. I do have to mention that most of my training in jazz – my inspirations have been away from violinists. I started to gravitate towards trumpet players such as Booker Little, Freddie Hubbarb, Clifford Brown and Lee Morgan. This might be unsual, but they really inspired me to find my sound on the violin.

9. You last released a single in 2020 called ‘In The Moon’ inspired by Christie Gray whose work is to support people to ‘strive to be good humans and to contribute positivity to society’. How important is community to you and how do you feel music fits into this?

Christie is a wonderful human and she used to be my boss at Toronto Sistema. We’ve both moved on from that wonderful space, but Christie instilled in me the importance of social positivity, through music and how we can teach the younger generations about being empathetic humans. We did this through teaching these children music and I carry that with me when I teach my college students now as well. 

Community is key because we humans need connection, we need each other to survive. We become better people surrounded by all kinds of ideas and perspectives that only together we can create and evolve. This, I feel feeds into me music-making and it invigorates and inspires my creative practice.

10. And lastly, how do you hope people will feel after listening to your new album

I hope this album brings positivity, reflection and that it offers the listeners the chance to embark on a journey with us. I hope people will connect with the music, that it awakens their curiosity and that they can bring this fresh energy with them to their everyday lives.

I hope it shines a light on the possibilities of the violin within improvised music. Furthermore, this album presents a group of people playing chamber-music – it just happens to be unconventional.

Link to Aline's website here:

Link to Aline's new album here: