UIC’s Alyssa Allgood Voted Chicago Reader’s “Best Individual Jazz Musician.”

Alyssa Allgood serves as the Vocal Jazz Ensemble Director at the UIC School of Theatre and Music. Named a “Rising Star Female Vocalist” in the 2024 DownBeat Magazine Critics Poll and voted “Best Individual Jazz Musician” in the 2024 Chicago Reader Poll, Allgood took some time to discuss this recognition as well as releasing original music, her passions as an educator, and the upcoming Vocal Jazz Ensemble performance on February 19. 

Read more below!

Please note that this interview has been edited for length and clarity.

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Congratulations on winning the 2024 Chicago Reader Poll for Best Individual Jazz Musician! How does that feel?

Well, thank you so much. Yeah, it feels really great. It’s especially meaningful because this is a reader’s poll, so the nominees and winners are chosen directly by the readers. So for me, it’s great to know that the recognition is coming directly from the community.

Really anyone can vote—whether that’s other musicians, my individual fan base, or other Chicagoans. What that means for me is feeling like there were enough people who said, “We support you, we see you, and we want to celebrate the work that you’re doing.” And so that recognition is just meaningful—to, again, feel that community support.

Leading jazz publication DownBeat Magazine conducts an annual critics poll, with votes from writers and critics from the magazine. In the August 2024 issue, you were recognized as a “Rising Star Female Vocalist” in their 72nd Critics Poll! What does this recognition mean to you, and how does it feel to be included in such a prestigious list?

Thank you! It wasn’t actually something that I had to apply for, but because I had an album that came out this year and was on people’s radar when they were getting ready to vote, my name came up. 

So I was actually on a walk with a friend and I got a text from somebody like, “Hey, you’re on the list.” I was immediately like, “oh my gosh,” you know? For me, that was a really big deal because the other artists who are on that list are all musicians who I really admire and respect—people who have won Grammys and are touring internationally. So to be on that list is significant. And again, to feel like there were writers who were seeing me and my music in this past year and saying, “Yeah, we see her, her star is rising and we wanna kind of give her that space to continue into that.” was very meaningful.

What do you think set your work apart in 2024?

I have been joking with a lot of people about last year that it was [for me] the year of the hustle. And what I mean by that is I think just being a lot more intentional about my career aspirations and then working kind of relentlessly to make those things happen for myself. 

As an independent artist, I am responsible for making every single thing happen for myself. Sometimes that’s overwhelming, but also totally empowering as well, right? And so with that, I think being a little bit more specific about the type of music that I want to be recording and performing. My album, From Here, came out in April of 2024 and was the first that featured original music. 10 of the 12 songs were my originals, and then the other two were like rearrangements that I did of standards. So that [the album] was me focusing on the, “What do I really want to be saying with my music?” and taking that step for myself as a composer and arranger. 

I also hired an all-star band for that recording. I worked with Kendrick Scott on drums. John Patitucci on bass, Geoffrey Keezer on piano, and Greg Ward on alto saxophone, all internationally renowned musicians. Several of them are Grammy winners, and they are all kind of the top of the top in the jazz world. Getting to work with those musicians really elevated my music and my voice in a lot of ways. They are not only incredible musicians, but also very kind and open people—so it was a very positive experience. 

So again, developing that intention, having a little bit more kind of focus with my art, what I want to be saying, and then deciding, “Okay, I’m going to go after some bigger goals for myself.” That took form in doing a lot more touring than I’ve ever done before, playing at bigger venues. I played Dizzy’s in New York, which is part of the Jazz at Lincoln Center, for the first time. I also played at Mezzrow and Birdland while I was in New York. While I was here in Chicago, I did a weekend at the Jazz Showcase, which I’ve done before, but this was my first time selling out a few of the sets, and that was really amazing. 

I think this year was about taking bigger risks, naming some of the dreams that I had, and then just relentlessly deciding that I was gonna make those things happen.

In addition to being a songwriter and performer, you’re also the director of the Vocal Jazz Ensemble here at UIC’s School of Theatre and Music. What are you most passionate about when it comes to teaching and mentoring your students?

What I’m most passionate about is really empowering the students to find their own voice and develop more confidence as singers. I’m teaching jazz music which has a lot of nuance and specificity—which is great and worthy of learning—but through that process, it’s about helping them learn how to practice, set goals for themselves, and achieve those things. It’s also learning how to show up for themselves, to show up for the other people in the ensemble, and developing their own artistic intentions. So it’s about being aware of why they’re singing something a certain way, how that’s impacting the overall sound of the group, and then taking ownership of their creative and learning process.

What has been the most rewarding aspect of leading the ensemble? Have any specific moments with the group stood out to you recently?

For me, the most rewarding aspect of working with the ensemble is hearing and seeing the students open up more in the music. The group was reinstated last year for the first time post-pandemic. So for a lot of the students, it was their first time singing in a group like that. And I will say on the record that singing is hard, singing in an ensemble is hard, singing jazz is hard, and then singing jazz in an ensemble with like, 15 or 16 other singers is difficult, right? So the things that they’re being asked to do in terms of—singing these really dense harmonies, being aware of how they’re balancing and tuning in a chord, and learning how to smile, interact with each other, and connect with an audience—it’s a tall order, but they’ve all been rising to the challenge. Each semester, the ensemble is just getting more comfortable owning their own process and presence in the music. It’s been rewarding for me to hear and see them open up and continue to build that confidence. 

A special moment is last year, we were asked to perform for the inauguration of the new chancellor. That was really, really special. We actually performed two of my pieces. I have an original of mine called “Brave Little Flower” that I did an arrangement for SATB [Soprano, Alto, Tenor, Bass—four-part vocal ensemble]. They also performed an arrangement I wrote of the Laufey song “From the Start.” That was a nice opportunity for the students to be showcased and to have the music department be very visible on campus. It was an honor to have our group selected and the students had such a great time preparing for that performance and getting to share their music in that setting as well. 

Earlier in the interview you mentioned that your most recent album From Here had 10 original songs. Have you always written songs, or is this a newer development for you? 

Yeah, that’s a great question. No, I haven’t always written songs and I actually just taught a songwriting clinic at the Jazz Education Network Conference in Atlanta. In the clinic, one of the first things I discussed was the importance of getting out of our own way. And I think that’s true of songwriting but just kind of all things in life. I, admittedly, held myself back from writing for a long time because I just felt like it wasn’t good enough. You know, I’m singing all these jazz standards by these incredible composers, and then the first thing I wrote was like— “Okay, well, it doesn’t really sound like that. So is that okay? And is it still jazz if it’s a little bit different?” I really grappled with those questions.

I had a friend of mine who I was sharing those insecurities with, and he said to me, “You know, anything that you write is good because it’s within you. Anything that’s coming out is a part of you. And that’s enough—that’s good enough.” And so trying to get a handle on that inner critic that we all have is really important for me. 

It’s also been just dedicating more time to the practice of songwriting. I think sometimes there’s this illusion that songwriting is magic and either some people can do it and some people can’t, which is just, you know, unfortunately not true. It’d be great if it was magic, but it’s really just practice, it’s work, and it’s a daily commitment. Similar to building any other musical skillset. 

For me that also goes back to your earlier question of “Why this year, why this recognition?” I think setting that intention of wanting to focus more on writing my own music and sharing more personal messages. But also different kinds of messages. A lot of my music focuses on self love, human connection, discovery, those kinds of things. So it’s less about, as a jazz singer, having to sing often about romantic love, which I love. I love love. But I feel like there’s a lot more to sing about in 2025. And songwriting has given me a different vehicle for expressing my own personal thoughts and feelings while sharing some new things with the jazz world as well.

How do you stay inspired both as a performer and an educator?

Like all musicians, I am constantly working on and being aware of balance and burnout. It can be very easy for us, in this kind of industry, to experience that [burnout]. And so for me, the foundation of what I’m doing is that I believe in this music and I believe in the community that’s possible through this music. I believe in using music to uplift, encourage, and empower others both as a performer and as an educator. It’s not like I have to remind myself that every day, but in those moments where it might feel a little bit harder or more stressful, coming back to that reminder of “why do you wanna do this thing?” And then just making sure that you’re showing up to honor what is important to you. 

I’m also inspired by the idea that my learning as both a performer and an educator, never stops. Earlier, I mentioned going to the Jazz Education Network Conference, which is an amazing few days of attending clinics, performances, and networking with other educators. For me, feeling like there are constantly more things that I can learn in better ways and evaluate what I’m doing keeps me inspired. 

I also try to bring in new things. As an educator, that might be trying something different in a rehearsal or bringing in a different style of music. As a performer, it might be trying to write something in a specific style, or trying to get a gig at a different kind of venue. I’m always looking for things that feel different and exciting, but are still based on the value system I have.

Tell us about the upcoming Vocal Jazz Ensemble show with the Ubuntu Project. What can attendees expect?

Yeah! The show is on February 19 at 7:30 p.m. and is free to the public. It will be two sets, one from the Vocal Jazz Ensemble and one from the jazz combo The Ubuntu Project. 

The Ubuntu Project is a combo led by Professor Marques Carroll, a dear friend of mine and someone I truly admire. I’m excited about what he has planned for the group because I know it’s going to be amazing. He’s an incredible musician and educator, deeply committed to artistic excellence and vision. I can’t wait to hear what they have in store.

For our set, we’re doing something a little bit different. We have a fairly large ensemble of 17 singers, so for this concert we will be separating the group into smaller sections. Our set will start with two pieces performed by smaller groups—one with eight singers and the other with nine. The smaller group sizes have helped students with developing greater command of their voices, confidence in a smaller setting, stylistic nuances, those kinds of things. And it’s been a fun opportunity to let them all shine just a little bit differently in that smaller setting. 

One of the groups will do an arrangement of a standard called “But Not For Me” which includes the Chet Baker vocal solo from one of his recordings. The other group is performing a piece called “Satellite,” which is written by a composer, vocalist, and piano player named Laila Biali, who’s based in Canada. This one is more contemporary pop jazz, which has been really fun.

And then we’ll have two full group songs. We’ll be doing an acapella version of “My Romance,” which is a beautiful jazz standard. You’ll hear some really lush chords within the ensemble and a lot of beautiful lyric expressions. And then we’ll close out with a really fun and kind of cheeky arrangement of “Route 66,” the classic blues standard. There are a couple of interesting little rhythmic things. The students have been doing a great job continuing to internalize the swing feel as well.

What advice would you give to emerging Chicago Musicians?

I think that when going into music, it’s important to know that it is a marathon and not a sprint—to use that old cliché. And the truth of that phrase is that being in this industry and making inroads for yourself as an artist takes a long time. It takes a lot of effort, it takes a lot of showing up, it takes a lot of building resiliency, having thick skin in certain moments, and a willingness to keep trying for things. That’s an important awareness to have going into a life in music. 

The other side is this cultural idea that you can’t make a life in music. And that’s also just not true. I mean, there are people who have different lifestyles, but a life in music is also very possible. It’s important if you want to really pursue a life in music to really be thinking about not only having your craft together as a musician but all of the other things that you need to really develop and sustain a career—all the music business skills. 

As an independent artist, I’m responsible for everything. My own marketing, researching gigs, understanding taxes, all that kind of stuff. And so I think getting the musical skill set is super important, and then simultaneously thinking about the entrepreneurial skills to sustain yourself. 

The other thing I will say too, no matter what stage of life you’re in, even if it’s like you are brand new to a college program, just graduated, or you’re in your 30s or 40s—continuing to check in with yourself about what is the thing that you really want to be doing and saying with your music is important. And to always continue spending time finding things that resonate with you as an artist. Students who are in our program are required to learn the history and the foundation of music through various classes—which is also important.

Additionally, I think that students here and everywhere should take the time to ask, “Okay, well, what is the thing that I really like about this music? What artist or recording lights me up that makes me want to go study it for hours?” Finding that kind of curiosity and energy around the music is important because it keeps you interested and it is a lifelong pursuit to be a part of this music.

When can people see you perform next?

On Monday, February 24 I’m thrilled to make my debut with my new vocal quartet, Somaluna. We are a vocal collective dedicated to championing the voices of female composers and arrangers. The set features music composed and/or arranged by us. The performance takes place at Fulton Street Collective at 7:30pm. 

On Friday, February 28, I’ll be performing as part of the Jazz Institute of Chicago’s Winter Jazz Fair, which is happening in the Fine Arts Building on Michigan Avenue. That’s an all-day, free festival with performances, artist talks, and vendors. The performance is 3:15pm to 4:15pm and that will be one set of original music with my band. 

A couple of other things, on Sunday, March 2, I’m going to be at Winter’s Jazz Club. I have a monthly residency with saxophonist Chris Madsen. This particular week we will be doing a live recording, which we’re very excited about. That show will be an evening of Beatles music. We have some jazz arrangements of that songbook and it’ll be a live recording. So if you want to come out and be part of the studio audience, it would be great.