The eclectic nature of Jeremiah David Tindall’s music reflects the wide array of experiences that culminate in his present compositions.  His unique style is a blend of reggae, folk, and classical sounds, which are woven strands from the various elements of his musical background.  

With an undergrad in Music from Knox College and a graduate degree in Music Business from the University of Miami, Jeremiah has formal training on violin, guitar, and piano along with first-hand experiences learning cultural music styles in Kingston, Jamaica and Mali, West Africa.  Followed by seasons of work aboard tall ships, at summer camps, on organic farms, and inside a variety of blue-collar industries, his lyrical content incorporates the perspective of the working man and the adventurer.  Resourceful and contemplative, his compositions merge cultures and styles that parallel his travels.

Jeremiah currently resides in Miami, FL and serves as the Site Director of Liberty City chapter for the Miami Music Project, a non-profit bringing orchestral opportunities to students in under-resourced communities throughout Miami-Dade County.  He has worked in a variety of settings with youth including camp counseling, teaching, and after school programs.

Collaborating with Teaching Artists from the Miami Music Project and fellow musicians from his local congregation, Miami Bible Church, Jeremiah now seeks to advance the truth and light of the Scriptures to his audience through the joy of music as he brings years of experience and longstanding musical efforts to the table.  While he serves the community of Liberty City and encourages children in their musical development, he writes and arranges original acoustic reggae music combined with a variety of classical chamber ensemble accompaniments.  The sound is a natural outflow of the adventurous life he has lived and an expression of the Christian faith he holds dear.

A Message from Jeremiah

Classically trained on violin from the age of 10 in the Midwest and immersed in the culture and music of Jamaica for the past 15 years, there has been a continuing draw towards the musical crossroads where classical compositions and reggae rhythms meet in my musical development.  It was a long time in the making. 

With the raw style of drum and bass characteristic to the modern dancehall reggae scene, traditional reggae has its roots in the folk music style called Mento.  While classic reggae music grooves over a variation of the elements of the Caribbean roots that formed it and modern dancehall carries foundational traces of it, current innovations have brought a new sophistication to the structure and texture of reggae music.  My goal, musically, is to take that progression one step further and bring the complexities of a classical ensemble to the catchy rhythms and message-oriented lyrics that are characteristic of classic reggae, giving the arrangements an academic appeal while still invoking the traditional sounds from where reggae began.

While much reggae music delves into spiritual and Biblical themes, reggae artists typically represent a diverse doctrinal spectrum of Rastafarian and pan-African worldviews.  The music I am attempting to create is not rooted in an Afro-Centric worldview, but, rather, is seeking to outline the doctrines and spiritual understanding of a Reformed, Christian perspective. 

The resulting music places a high value on integrity of content and artist conduct alongside its faithfulness to a proper and orthodox interpretation of Scripture.  The reflection of this commitment to sound, biblical teaching coincides with a dedication to musical sophistication through highly trained instrumentalists who display an overall aim for pursuing excellence in musical content and delivery. 

My aim is that this music will be created through a consistent and systematic approach so that the elementary forms of traditional reggae music become enriched through complex arrangements.  The various textural components of the classical ensemble carry a more sophisticated sound.  Precise articulations by the multiple voices represented are notated for specificity.  A highly organized and documented composition will allow instrumentalists to enter and exit the ensemble for diverse styles of performance.  As a result, the creative process of songwriting can be expanded, embellished, and re-arranged.

Lyrically informed by the rich doctrinal positions of theological giants from the Puritan era, the message content is contemplative and thought provoking as it reflects my own personal study of 17th-18th century writings.  However, the goal is to still maintain the traditional reggae appeal of accessibility to the common man.  The warm and joyful tone of the harmonies and rhythm create an easy listening experience that sinks melodic phrases into one’s subconscious memory.  This music is inviting while carrying a high level of intrigue to the careful listener.

Even though the music is style is easy going, the content is, at times, direct and confrontational.  The overall message is one of good news and hope, but it is firmly grounded in its theological convictions and willing to confront the listener.  Reggae music has traditionally functioned as a music of resistance to social ills and a method of teaching the struggling lower classes of society.  This tradition is carried on through the new sophisticated sounds that are introduced in my music.   The message is filtered through biblical interpretation.  There is straight forward intentionality. 

The style of performance and composition in my music is born from an adventurous life.  It is well-traveled while it reflects the experiences of a road that is less traveled.  The lyrics are filled with imagery and metaphors from the sea, the land, and the life of a sojourner.  They have been formed through patience and endurance, fueled by the courage of one who is not afraid to venture.  The lyrical lens is broad, but any wisdom found there is grounded in defined and analyzed experiences.

The primary purpose of my music functions as a means to encourage others.  Whether it be to strengthen the weary, instruct the inexperienced, proclaim the glad tidings of a transformative gospel, or to uplift the fainthearted, it is a ministry first and foremost. 

It is also a means of livelihood for those involved.  As the music is documented, performed, and distributed, I hope its audience remains vast.  Not only will it extend to the listener through various technological means, but it is also an avenue for building community through audience participation.  It is a supportive platform for creative pursuits.  In short, it is the beginning to an interconnected series of missionally minded projects that engage others through artistic means.  Be prepared for more…

…and with all that being said, I hope you enjoy it!

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