Jennifer DeFrayne

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Soul Love
by Jennifer DeFrayne

 

Finding Her Way Back to the Music:
Jennifer DeFrayne and the Journey of Soul Love

For many artists, music is something they do. For Jennifer DeFrayne, it has always been something much deeper. Growing up amid the forests, shoreline, and vast open spaces of Michigan's Upper Peninsula, she discovered the piano not as a formal instrument to be mastered, but as a gateway to exploration, imagination, and self-expression. Largely self-taught, she spent countless hours improvising and creating melodies of her own, laying the foundation for a musical voice that would eventually earn recognition throughout the contemporary instrumental and new age music communities.

That journey led to the acclaimed albums By a Wire and Sisu, recordings that established DeFrayne as a composer capable of transforming deeply personal experiences into music filled with beauty, resilience, and emotional honesty. Yet following the success of those releases, a series of serious health challenges forced her away from the piano for an extended period. What followed was a long and uncertain chapter marked by recovery, patience, and the difficult question of whether she would ever fully return to the creative life that had always been such an important part of her identity.

The answer arrived in late 2025 when the music began flowing once again. The result is Soul Love, an album born from improvisation, gratitude, memory, and the many forms of connection that give meaning to our lives. In this conversation, Jennifer reflects on her musical beginnings, her remarkable path back to creativity, the inspiration behind Soul Love, and the profound realization that music was never simply something she enjoyed—it was part of who she is.

 

AV:  Many Ambient Visions readers may be discovering your music for the first time. Can you tell us a little about your upbringing in Michigan's Upper Peninsula and how music first entered your life?

JD:  Growing up in Michigan’s Upper Peninsula was a beautiful experience. I was raised in the Keweenaw Peninsula, one of the northernmost parts of the state, surrounded by the forests and shores of Lake Superior. We often joked that we lived either at the end of the road or the beginning of the road, depending on your perspective. Being surrounded by water and nature had a profound impact on me. The vastness of Lake Superior, the quiet forests, and the changing seasons all became sources of inspiration that would later find their way into my music.

Music entered my life through the baby grand piano that sat in our home. Although I never had formal piano lessons, I was drawn to the instrument from an early age. Rather than learning traditional pieces, I spent my time exploring sounds and creating my own melodies. By the time I was around thirteen years old, I had begun writing simple pieces that I could reproduce and develop into complete songs. While they were modest beginnings, I quickly discovered how much I loved the creative process. It was during those early years that I realized music would always be an important part of my life. 

AV:  You are largely self-taught as a pianist and composer. Looking back, what inspired you to create your own music rather than simply learn the works of others?

JD:  I was always more interested in creating than reproducing. Since I didn’t have formal piano lessons, I approached the piano as a place to explore sounds, melodies, and emotions rather than a place to learn established repertoire. I enjoyed listening to many different styles of music and was certainly influenced by them, but what excited me most was discovering my own musical ideas. Even as a child, I found myself sitting at the piano and improvising for hours, creating melodies that reflected what I was feeling or imagining. Looking back, composing felt like the most natural way for me to connect with music, and it quickly became more fulfilling than simply playing the works of others. 

AV:  Were there particular artists, composers, or albums that helped shape your musical identity during your formative years?

JD:  During my formative years, I was influenced by a wide range of artists and composers. Some of the musicians who had the greatest impact on me were Elton John, Billy Joel, Yanni, Mannheim Steamroller, Liz Story, and George Winston. Their music introduced me to different approaches to melody, emotion, and storytelling through piano and instrumental music.

High school and my early college years were a time when I was still developing my own compositional voice. These artists helped shape my musical identity, and their influence can certainly be heard in some of my early work. As I continued writing and composing, those influences gradually blended together and evolved into a style that became uniquely my own. 

AV:  Your music is often described as deeply emotional and personal. When did you first realize that composition could become a way of expressing experiences and feelings that might be difficult to communicate in words?

JD:  I think I realized it gradually rather than in a single moment. From an early age, I found myself drawn to the piano whenever I was experiencing strong emotions or trying to make sense of something in my life. Music became a place where I could express feelings that were often difficult to put into words. As I continued composing, I began to recognize that my most meaningful pieces were often connected to personal experiences, relationships, memories, and emotions.

To this day, much of my music is created through improvisation, which allows me to express what I am feeling in the moment. The piano has always been a source of comfort, healing, and self-expression, and many of my compositions begin as an emotional response to something I am experiencing in my life. 

AV:  Before recording By a Wire, what were the key experiences that convinced you it was time to share your music with a wider audience?


JD:  Before recording By a Wire, I spent many years writing and recording music in my bedroom using a Boss digital recorder connected directly to my Yamaha keyboard. At the time, I had no formal training in recording or engineering and wasn’t working in a computer-based environment, which meant every performance had to be captured as a complete take. Therewas no editing, no fixing mistakes later, and no mastering in the professional sense. What listeners heard was simply the performance as it happened. I would burn my recordings onto CDs, create simple cover artwork, and share them with friends and family.

The turning point came when my mother asked me to compile some of my music onto a CD for her. As I listened back to those recordings (all recorded in a single clean take because I did not have editing options…), I began to feel excited about the possibility of sharing my music with a wider audience. That led me to independently release a song called “Hope Floats” through TuneCore. The recording was far from perfect by today’s standards, but I believed in the message behind it. Ihad written the piece while recovering from a difficult health challenge, and it was a reminder that hope remains even during life’s most difficult moments.

The positive experience of releasing that music gave me the confidence to think bigger. Looking back, that simple CD for my mother was the first step on the path that eventually led to recording By a Wire.

AV:  How did the opportunity to work with Will Ackerman and Fiona Joy Hawkins come about, and what do you remember most vividly from those early sessions at Imaginary Road Studios?

JD:  The opportunity came about in a very unexpected way. After releasing my song “Hope Floats” through TuneCore in 2013, I began searching online for ways to connect with other artists and learn more about the contemporary instrumental and New Age music community. During that search, I discovered a website calledNew Age Music Circle, which is now New Age Music World.

I posted my music there and mentioned on my profile that I was looking for a producer who could help me take my recordings to the next level. At the time, I knew my music had potential, but I also knew the recordings themselves were very basic. Everything had been recorded at home, and I had no experience with professional production.

One day I received a message through the site from Fiona Joy Hawkins. I had been listening to her music for years, so seeing her name appear was completely surreal. She told me she liked what she heard and asked if I needed help finding a producer. I was honestly starstruck. We began corresponding, and she asked me to send additional music. I quickly gathered more recordings and sent them to her, apologizing repeatedly for the sound quality.

A few months later, Fiona contacted me and asked whether I would be interested in working with either Corin Nelsen or Will Ackerman. Ironically, while I knew who Will was through his association with Windham Hill, I wasn’t familiar with Corin’s work at the time. I immediately chose Will. Looking back, it’s funny because I eventually married Corin.

Fiona shared my music with Will, and to my great relief, he connected with it. Before long, Fiona invited me to record at Imaginary Road Studios in Vermont. It felt like I had won the lottery. I had set out simply hoping to find a producer, and suddenly I was preparing to record my debut album with some of the most respected people in the genre.

What I remember most vividly about those sessions is the overwhelming combination of excitement, gratitude, and wonder. I arrived prepared, having memorized every note of twelve compositions, but I was still wide-eyed and nervous. During the first week I recorded all of the piano tracks. During the second week I watched incredible session musicians bring the music to life.

Hearing artists perform on my compositions was unlike anything I had experienced before. Music that had lived only in my imagination was suddenly taking on new colors and dimensions through cello, percussion, violin, oboe, and other instruments. It was an emotional experience that is difficult to put into words.

Will was warm, welcoming, and encouraging throughout the process. Fiona was an exceptional producer who constantly helped me reconnect with the stories and emotions behind each piece so that the performances could come from a deeper place. Beyond the music itself, she generously shared her knowledge of the music industry and guided me through many aspects of building a career as an independent artist.

Looking back, those sessions at Imaginary Road were life-changing. Not only did they result in my debut album, By a Wire, but they also gave me confidence in my voice as a composer and artist. The experience led to awards, recognition, and opportunities I never imagined possible. More than anything, I remember feeling incredibly grateful that a dream I had carried for so many years was finally becoming reality. 

AV:  Your second album, Sisu, drew inspiration from a Finnish concept centered on perseverance and resilience. What did that idea mean to you personally, and why did it feel like the right foundation for that project?

JD:  Sisu held special meaning for me long before I ever began writing the album. Being primarily of Finnish heritage and having grown up in Michigan’s Upper Peninsula, where there is a strong Finnish community, I was familiar with the concept from an early age. Sisu is often described as perseverance, resilience, grit, determination, and inner strength, but to me it represents the ability to keep moving forward through life’s challenges, even when the road ahead is difficult.

What made this project unique was that it was created completely differently from my debut album, By a Wire. My first album was a collection of compositions I had written over many years. The music came first, and the album gradually took shape from there.

With Sisu, I did the exact opposite.

I began with the album title before a single note of music had been written.

I was fascinated by the concept of sisu and felt it would provide a meaningful foundation for an entire project. Once I committed to the title, I created the track titles next. I developed twelve song titles, each representing a different aspect of perseverance, courage, endurance, fortitude, or personal growth.

Only after the album title and all of the song titles were established did I begin composing the music.

That approach gave the project a very intentional direction. Rather than asking, “What should I call this piece?” After it was written, I already knew the story, emotion, or characteristic I wanted each composition to convey. My task then became creating music that reflected and supported those ideas.

The concept also resonated with me on a personal level. Like many people, I have faced challenges and difficult periods in life that required determination, faith, and resilience to overcome. There were many times when I felt I had to draw upon my own sense of sisu to keep moving forward. Because of that, the album became more than a collection of songs. It became a musical exploration of the strength that exists within all of us when we choose to persevere.

Looking back, I think that is why the project felt so cohesive. Every composition was born from the same central idea, and together they tell a larger story about endurance, hope, and the human spirit’s ability to overcome adversity. 

AV:  Throughout your career, themes of healing, hope, and endurance seem to appear repeatedly in your music. Do you consciously explore those themes when composing, or do they emerge naturally from your life experiences?

JD:  The answer is actually both.

Much of my music is written through improvisation. I will sit down at the piano without a specific agenda and allow the music to unfold naturally. In those moments, I am not consciously trying to write about healing, hope, endurance, or any other particular theme. The music often arrives first, and only later do I understand what it was expressing emotionally.

However, there have also been times when I have intentionally composed around a specific concept or idea. My album Sisu is probably the best example of that process. Before I wrote a single note of music, I had already chosen the album title and developed all of the track titles. Each piece was designed to reflect a different aspect of perseverance, resilience, courage, or personal growth. In that case, the concepts came first and the music followed.

There have been individual pieces created that way as well. On my upcoming album Soul Love, there is a piece called Playing in the Snow. I remember sitting at the piano on a beautiful winter day, watching the snow fall and the birds gather at the feeder outside. It brought back memories of playing in the snow as a child and later watching my own children experience that same sense of joy, wonder, and adventure. I intentionally wanted to create a piece that captured those feelings, so the title and concept came before the music.

Whether the music begins with an improvisation or a specific idea, I think my life experiences inevitably find their way into the compositions. Themes such as hope, healing, resilience, love, and perseverance appear repeatedly because they are qualities that have been important throughout my own journey. They are not always consciously planned, but they are very much a part of who I am.

I think that is one of the beautiful things about composing. Sometimes I am discovering what the music wants to say. Other times I am intentionally telling a story. Both approaches are equally meaningful to me, and both have shaped the music I create. 

AV:  After Sisu, you faced a number of significant health challenges that took you away from the piano for an extended period. How did that experience change your relationship with music and creativity?

JD:  The years following Sisu brought some of the most significant challenges of my life. What began as ongoing health issues eventually led to multiple surgeries, including treatment for occipital neuralgia and reconstructive cervical spine surgery. Recovery was lengthy and often unpredictable,and there were periods when simply focusing on healing had to take precedence over everything else.

For someone whose life had always included music, stepping away from the piano for such an extended period was incredibly difficult. Music had long been one of the primary ways I expressed myself, processed emotions, and connected with the world around me. Suddenly, that relationship was interrupted by circumstances beyond my control.

One of the hardest aspects of that experience was not knowing what the future would look like. When health challenges persist for years, there are moments when uncertainty becomes part of everyday life. I had to learn patience in ways I never had before and accept that healing would happen on its own timeline rather than mine.

At the same time, the experience deepened my appreciation for music. When something you love is no longer readily available to you, you begin to understand its value in a different way. I never stopped loving music, even during the years when I wasn’t actively recording. If anything, my connection to it became more profound.

When I eventually returned to composing, I found that I was approaching the piano with a renewed sense of gratitude. There was less pressure and more appreciation for the simple ability to sit down and create. I wasn’t taking those moments for granted anymore.

In many ways, the challenges I experienced changed me as both a person and an artist. They taught me patience, resilience, and gratitude. They also reminded me that creativity doesn’t disappear simply because it goes quiet for a while. Sometimes it is waiting beneath the surface, gathering experiences and perspectives that will later find their way into the music.

Looking back now, I see that period not only as a time of hardship but also as a time of transformation. The music I am creating today is undoubtedly shaped by those experiences, and I believe it carries a greater sense of appreciation for life, love, connection, and the preciousness of simply being able to create again.

One of the greatest lessons I learned during that time was how deeply I loved music. When something has been such a significant part of your life and suddenly it is no longer there, you realize just how much it means to you. Being separated from music for so long made me understand how profound my love for creating and sharing it truly was.

When the time came to begin thinking about another album, I knew it had to be centered around love. As I started composing the music that would eventually become Soul Love, I realized that what was flowing through the piano felt deeper than melody alone. It felt as though my soul was speaking through the music. The compositions emerged naturally, honestly, and without force, almost as if they had been waiting patiently for their moment to be heard.

That realization became the foundation for the album’s title. Soul Love represents not only love between people, but also a love for life, for creativity, for healing, and for the gift of being able to create music again.


In many ways, it is the most personal album I have ever written because it grew directly out of that journey.

“The experience changed my relationship with music by making me realize it wasn’t simply something I enjoyed doing. It was part of who I am. When it was taken away, I discovered how deeply I loved creating and sharing music. When I eventually returned to the piano, I did so with a completely different perspective. There was less focus on achievement and more focus on gratitude. Every moment at the piano felt like a gift.

That realization ultimately became the foundation for Soul Love. As I began composing again, I found that the music was flowing from a deeper place than before. It felt as though my soul was speaking through the music. In many ways, the album became an expression of my renewed love for creativity, for life, and for the privilege of being able to create again.”

AV:  When you finally returned to composing after so many years away, did it feel like picking up where you left off, or did you discover a different artistic voice waiting for you?

JD:  When I returned to composing, it felt surprisingly familiar. The ability to improvise, develop melodies, and shape a piece of music was still there, so in many ways it felt like picking up right where I left off.

What I did discover was a more intentional approach to writing. While improvisation remains at the heart of my creative process, I found myself spending more time refining melodies, developing sections, and shaping the music to express exactly what I wanted to say emotionally.

What had changed most was me. The years away from the piano brought experiences that deepened my perspective and influenced what I wanted to express through my music. As I created Soul Love, I discovered a more reflective and vulnerable artistic voice, one centered on connection, gratitude, and love. 

AV:  After spending years uncertain whether you would be able to return to composing, what emotions did you experience when the first pieces that became Soul Love began to emerge in late 2025?

JD:  When the first pieces that would eventually become Soul Love began to emerge in late 2025, I felt a tremendous sense of excitement and wonder. Emotionally, spiritually, and creatively, I was in a very good place, and it felt as though my soul had come alive again.

I was humbled by the music that was coming through me and amazed at how naturally the process returned. The ideas flowed freely, and I was able to shape, memorize, and develop the pieces almost as though I had never been away from the piano. After so many years of uncertainty, it felt surreal to discover that my hands, my mind, and my creativity were all working together so effortlessly once again.

More than anything, I felt grateful to be creating music again and excited to see where it would lead. 

AV:  The album revolves around the idea of "soul love." How did your understanding of that concept evolve as you were creating the music?

JD:  As I was creating the music, my understanding of soul love grew beyond the idea of romantic love. The album taught me that soul love can be found in many different forms of connection throughout our lives.

It can be the bond we share with a partner, family member, friend, or beloved pet. It can be the deep connection we feel to nature, to the creative process, or to something we are passionate about. It can even be the enduring connection we feel with loved ones who have passed, yet somehow remain present in our hearts and memories.

Through the creation of Soul Love, I came to realize that soul love is really about the connections that touch us deeply and leave a lasting imprint on our hearts. Those connections are what inspired the music and ultimately shaped the album’s meaning. 

AV:  In your notes, you describe composition as a process of discovery rather than construction. Have you always experienced music this way, or has your relationship with improvisation deepened over time?

JD:  At the heart of my creative process, composition has always felt more like discovery than construction. The music often seems to come from somewhere beyond conscious thought, pouring through me rather than being assembled note by note.

That said, my relationship with improvisation has definitely deepened over time. While some pieces begin with an intentionally crafted melody that I then develop and shape, I have learned to trust the improvisational process more fully and allow the music to lead the way.

The title track, Soul Love, is a perfect example. It was recorded as a single-take improvisation and remains one of the purest expressions on the album. In that moment, it felt as though my soul was speaking directly through the music. Over the years, I’ve become more comfortable surrendering to that process and trusting where it takes me. 

AV:  You mention often wondering whether the music is your soul speaking through the piano. Did working on Soul Love bring you any closer to answering that question?

JD:  Working on Soul Love didn’t necessarily answer that question, but it certainly brought me closer to it. There were moments during the creation of the album, particularly during some of the improvisational pieces, when the music felt as though it was coming from a place deeper than conscious thought.

I still don’t know exactly where that place is or how to define it, but the experience reinforced my belief that music can be a powerful expression of something beyond words. Whether that is the soul speaking through the piano is a question I continue to explore, but Soul Love certainly strengthened my connection to that possibility. 

AV:  Much of this album arrived during a relatively brief and concentrated burst of creativity. What was it like to witness so much music appearing in such a short period after such a long absence from composing?

JD:  It was both exciting and humbling. After being away from composing for so many years, I never expected the music to return with such clarity and momentum. Once the first pieces began to emerge, it felt as though a door had opened and the ideas kept flowing.

What made the experience so remarkable was how natural it felt. The music seemed to arrive exactly when I was ready to receive it, and each new piece brought a sense of excitement and curiosity about what might come next.

Looking back, it almost feels surreal that so much of Soul Love was written in such a short period of time. After years of uncertainty, I found myself immersed in one of the most inspired and creatively fulfilling periods of my life. 

AV:  Looking back at your earlier albums By a Wire and Sisu, where do you feel Soul Love fits within your artistic journey? Does it feel like a continuation of those recordings or the beginning of a new chapter?

JD:  I see Soul Love as both a continuation and a new chapter. It continues the improvisational and melodic storytelling approach that has always been central to my music, while reflecting a deeper emotional connection and a stronger melodic focus. To me, it feels like a natural evolution of the musical voice that began with By a Wire and Sisu. 

AV:  Gratitude seems to run through much of the album. Was there a conscious effort to channel that feeling into the music, or did it naturally emerge from the circumstances surrounding its creation?

JD:  I think it was more something that naturally emerged than something I consciously set out to create. After being away from music for so many years, I felt incredibly grateful to be composing again and reconnecting with a part of myself that I thought might be gone.

As the album took shape, I realized that gratitude had found its way into the music. Gratitude for the people I love, for the experiences that shaped me, for the ability to create again, and for the opportunity to share that music with others. Looking back, I think those feelings became woven into the album simply because they were such an important part of where I was in my life when the music was written. 

AV:  Many of the pieces were inspired by family, memories, and meaningful life experiences. Were there any particular moments during the recording process when those personal connections became especially powerful or emotional for you?


JD:  Yes, there were several moments during the recording process when those personal connections felt especially meaningful. Pieces like You and I, which was inspired by my husband Corin, carried a very personal connection from the beginning.

Abby’s Gift was also special because it was inspired by my beloved dog, Abby. The main melody grew from a short whistle I used as a call signal for her over the years. It was a simple melody she knew well, and incorporating it into the composition felt like a meaningful way to honor that bond and preserve a small piece of our shared history in the music.

I was also moved while recording Memories of Them, which gave me an opportunity to reflect on the loved ones who have shaped my life and the lasting connections we carry with us. Those moments reinforced what Soul Love ultimately became about for me—the enduring bonds we share with the people, animals, experiences, and memories that remain a part of us.  

AV:  The title track was recorded in a single uninterrupted take and began life as an improvisation called "Soul Rhythm." What convinced you that this piece embodied the heart of the entire album?

JD:  When I first recorded the piece, it was called Soul Rhythm. It was a completely improvised, single-take performance, and unlike anything I had written before. The style, energy, and melodic approach felt new to me, which immediately made it stand out.

The more I listened to it, the more I realized I wanted it to be the title track. Originally, I thought of it as the rhythm of my soul flowing through the piano, which is where the title Soul Rhythm came from. But as I reflected on the broader themes of the album, I realized that title wasn’t quite right. It also risked creating confusion with the genre of soul music, which wasn’t what the album represented.

As I continued listening, the phrase Soul Love kept coming to mind. It felt as though the music itself was suggesting the title. The album had become an exploration of love in its many forms, and this piece felt like the purest expression of that idea. It was as if the love within my soul was finding its way into the music. Once the title Soul Love arrived, everything clicked, and I knew it represented both the song and the album as a whole.  

AV:  Several compositions seem to celebrate specific memories and places, from Michigan winters to the warmth of "Caribbean Sunset." How important is storytelling and imagery in your compositional process?

JD:  Storytelling and imagery are very important to my compositional process. While I’m not usually trying to tell a literal story, many of my pieces begin with a feeling, memory, place, or experience that I want to capture musically.

Music has the ability to communicate emotions and images in ways that words often cannot. Whether it’s the joy of a Michigan winter in Playing in the Snow, the warmth and beauty of Caribbean Sunset, or the reflection found in Memories of Them, I hope the music creates space for listeners to connect with their own memories and experiences.

For me, the most meaningful music invites the listener into a world of feeling and imagination, allowing the story to become uniquely their own.  

AV:  Soul Love features an exceptional group of guest musicians. When you first heard these artists adding their voices to your compositions, were there any performances that surprised you or revealed something new about the music?

JD:  Absolutely. One of the best examples is Caribbean Sunset, which began life as a completely different piece called Forever Strong. While it was always one of the more upbeat compositions on the album, it transformed in ways I never anticipated once the guestmusicians became involved.

When Jeff Haynes added percussion, the piece immediately took on a Caribbean feel. Hearing that direction, Premik Russell Tubbs expanded on it beautifully with his flutes, bringing even more color and atmosphere to the music. Fiona Joy Hawkins then added her ethereal vocals, which completed the transformation and gave the piece an entirely new dimension.

By the time everyone had contributed, the song had evolved into something far beyond what I originally imagined. It became one of the most uplifting and melodic pieces on the album and ultimately one of my personal favorites.

Experiences like that are one of the reasons I love collaborating with other musicians. When I’m writing, I often hear the music as something larger than piano alone, and gifted collaborators have a way of revealing possibilities I never would have discovered by myself. Time and again, they take a composition from good to great. 

AV:  Your husband, Corin Nelsen, produced the album and helped shape the improvised performances into their final form. How does that creative partnership work in practice, and what does he bring to your music that you might not discover on your own?

JD:  Soul Love was unique because Corin was involved in the creative process much earlier than on my previous albums. When I recorded By a Wire, I hadn’t met him yet. With Soul Love, I was composing on my grand piano in our living room, and he was often hearing the music as it was being created.

Because of that, he was able to offer insights that helped shape many of the compositions. There were times when he would hear a section and suggest that I slow it down, let the notes breathe, or allow a melody more space to develop emotionally. Drawing from his years of experience as a producer, he helped me recognize moments that deserved more attention and expression.

What he brings to my music is a fresh perspective and an incredible instinct for emotional impact. He hears possibilities that I sometimes miss when
I’m immersed in the creative process. His guidance helped shape several of the written pieces on Soul Love into something more expressive and emotionally powerful than they might have been otherwise. 

AV:  "Journey of Love" marks the first time you've recorded a composition written by another artist. What was it about Calum Graham's piece that resonated so deeply with you?

JD:  I first heard Journey of Love while Corin was recording the album for Tripliciti, and I immediately fell in love with the piece. For some reason, I could instantly hear it as a piano composition, even though it was written for guitar.

What made it resonate so deeply was the challenge it presented. I don’t read sheet music, so learning the piece meant listening, memorizing it by ear, and then creating my own piano interpretation. It became the most difficult and time-consuming piece on the album, requiring months of focus and persistence.

There were times when I was tempted to set it aside and start writing my own music again, but I made a commitment to see it through. In many ways, the process became a journey of love itself—a journey back to music, back to creativity, and back to believing in my own abilities.

By the time I finished it, the piece had taken on a very personal meaning. It was no longer just a beautiful composition by Calum Graham; it had become part of my own artistic journey as well.

AV:  Having learned "Journey of Love" entirely by ear and translated it into your own musical language, did the experience influence the way you think about interpretation versus composition?

JD:  The experience gave me a much deeper appreciation for artists who take an existing composition and make it their own. Before working on Journey of Love, I understood the concept intellectually, but I didn’t fully appreciate how much creativity, effort, and musical decision-making can be involved in that process.

What surprised me most was how difficult it was. Learning the piece by ear, translating it to piano, creating my own interpretation, and making it feel natural within my musical voice was far more challenging than I expected. There were moments when I became frustrated and even questioned whether I still had the ability to create music at the level I wanted.

Because it was the first piece I worked on for the album, it became an important turning point. Completing it taught me the value of perseverance and reminded me that growth often comes through challenges. By the time I finished it, I had gained not only a deeper appreciation for interpretation as an art form, but also the confidence I needed to move forward and create the rest of Soul Love. 

AV:  When listeners reach the final notes of Soul Love, what do you hope remains with them long after the music has ended?

JD:  More than anything, I hope listeners are left with a sense of connection. Connection to the people they love, the memories they cherish, the experiences that have shaped them, and the things that bring meaning to their lives.

If the music encourages someone to reflect on those relationships and reminds them of the love that exists in its many forms, then I feel the album has done its job. Whether that connection is with a partner, family member, friend, beloved pet, nature, or even a part of themselves, I hope Soul Love leaves listeners feeling a little more connected to their own hearts and the people and experiences that matter most.

AV: I would like to extend my sincere thanks to Jennifer DeFrayne for taking the time to share her story with such openness, honesty, and thoughtfulness. It is easy to talk about a new album, but it takes a special kind of generosity to invite readers into the personal experiences, challenges, and moments of hope that shaped its creation. Jennifer's willingness to discuss not only the music behind Soul Love, but also the journey that led her back to the piano, has given us a much deeper appreciation for both the artist and the person behind the music. We wish Jennifer every success with Soul Love and look forward to following the next chapter of her musical journey.