Cellist, singer, songwriter and pianist - Ayana Witter-Johnson crosses borders between classical music, jazz, reggae, soul and R&B on April 3.

I was encouraged to study music from a young age by my mum, reaching grade 8 in piano by age 12 before starting cello lessons. But it was my deep connection with rhythm and expression that led me to embrace the cello as my primary instrument.

Growing up in a multicultural household, I was exposed to a fusion of sounds: my father’s love for reggae and dub, my mother’s jazz records, and the classical music I studied. This blend of influences shaped my unique playing style. The cello, with its deep, resonant tones, became a natural extension of my voice—both literally and figuratively. I also loved the instrument's versatility, which allowed me to bridge classical music with my Jamaican heritage, incorporating elements like reggae bass lines and percussive bowing techniques.

My creativity was shaped by a melting pot of musical traditions. I was heavily influenced by Ghanaian dance rhythms from my childhood involvement in a Ghanaian dance troupe, as well as the reggae, R&B, jazz, and classical traditions I encountered growing up.

I found inspiration in storytelling traditions from Jamaica, where music and movement are deeply connected. This led me to develop an innovative way of playing the cello—incorporating percussive bowing techniques, chopping, and syncopated rhythms to reflect the danceable nature of Caribbean and African music.  

I often performed solo and needed to create a fuller sound without a band. This pushed me to experiment with the cello’s capabilities, treating it as both a harmonic and percussive instrument while singing simultaneously. These explorations helped me craft a signature style that blends jazz, classical, and Caribbean grooves.

For me, music is a deeply personal ancestral expression. I describe my work as a tribute to my heritage, using music to honour historical figures like Queen Nanny of the Maroons in Jamaica and to celebrate the rhythmic and melodic traditions of my ancestors.

I believe in music as a communal experience, often breaking down barriers between performers and audiences. In my concerts, I engage people by teaching them Jamaican folk songs, encouraging audience participation, and creating an atmosphere that feels inclusive and celebratory.  

Rhythm is a fundamental force in my creativity. I see it as a universal language that connects people across cultures. Whether I'm composing for an orchestra, a string quartet, or a solo cello performance, rhythm plays a crucial role in her musical identity

Making music is both an emotional and intellectual journey. It allows me to tell stories, explore my cultural roots, and express my identity. It's a joyful yet deeply introspective experience, as I often reflect on my history and personal growth through my compositions.  

I also enjoy the physicality of performing—especially when I incorporate percussive elements into my cello playing. My background in dance gives me a heightened awareness of movement, which translates into my playing style. I find a real satisfaction in blending singing with cello, as it allows me to merge melody, harmony, and rhythm in a way that feels holistic and organic.

I will present a program that merges classical, jazz, and soul influences. Performing compositions for voice, cello, string quartet, and jazz trio, this concert will feature collaborations with the classic strings from Franz Trio as well as three jazz musicians: violinist Rodrigo Bauzá, double bass player Paul Kleber, and percussionist Chris Morris. This programme will showcase my signature style—mixing rich string arrangements with rhythms and expressive storytelling. The performance will celebrate the fusion of my cultural roots with classical and contemporary music.