How She Made It: Jeri Lynne Johnson, Founder of Black Pearl Chamber Orchestra

Jeri Lynne Johnson has a story that’s similar to many African-American women who are entrepreneurs. She paid her dues and earned an education and experience via Wellesley College where she studied music and religion. Johnson went on to graduate school at the University of Chicago, not far from her hometown of Shreveport, Illinois, and later working as a conductor, composer and pianist.

After winning a prestigious award for her work, she traveled around the country and abroad. However, when Johnson returned home, she heard the same song that many hear — and although she’s into music, this tune was the least appealing.

“When I came back to America I was trying to get jobs with bigger orchestras, but they were not interested. One orchestra told me they like my conducting and the board thought I had great ideas, but they didn’t know how to market me,” said Johnson.

“When I asked him for clarity, the guy on the search committee basically said, ‘You just don’t look like what our audience would expect a conductor to look like.’ That’s when I founded my own orchestra.”

Founder and music director of Philadelphia’s Black Pearl Chamber Orchestra, Johnson says no two roads to becoming a conductor are quite the same, but being a younger African-American woman and running the most diverse orchestra in the country, she’s carving out a unique niche in classical music.

“I founded the orchestra in 2008 when everything was falling apart in the world economically speaking. Even in this down economy we’ve been able to not only quadruple our audience size, but quadruple our budget,” she said. “When people come to see Black Pearl concerts they see people who look like them onstage. It just proves classical music is for everyone to enjoy.”

Following an assistant conductor position with The Chamber Orchestra of Philadelphia, at just 36 years old, Johnson decided to advance in the orchestral world by starting her own. Having worked in Philadelphia and already a recognized name, she was able to find musicians and put together The Black Pearl Chamber Orchestra quickly.

“Just because you’re an arts organization doesn’t mean that you’re not a business. I didn’t want to start out in the business world not being able to pay people, especially as an African-American woman. I wanted to make sure on every level our organization had a stellar reputation, not just artistically but as a business,” Johnson added.

Grants, donations and proceeds from sold-out concerts helped BPCO — which has a core of 40 musicians — rise above the competition. At a time when staple century-old orchestras were cancelling seasons, closing their doors and declaring bankruptcy, BPCO gained a following, always playing highly attended concerts.

“Black Pearl was able to pay their musicians very well, on-time, and the word got out around New York, New Jersey, Philadelphia and Baltimore that Black Pearl pays well — and they have a great season. I didn’t have any problem finding the top musicians that I wanted,“ said Johnson.

“People are surprised and they ask, ‘How do you start your own orchestra?’ Just because you’re an arts organization doesn’t mean that you’re not a business. Orchestras are kind of viewed in the community as institutions, because most have been around for 50-100 years.”

During Black Pearl’s inaugural season, Johnson recalls selling out in three days with no advertisements. Having to pull radio ads, the only downfall of the orchestra’s upstart was disappointing hopeful attendees. “The toughest part of running an orchestra is finding time for the artistic side. I feel guilty when I take lots of time out to study music or scores, because there’s the business side. There’s also meeting donors and grant writing,” she added.

“I’m the music director and the conductor so it’s tough to find that balance. It’s a continual struggle for arts organizations. Nothing is guaranteed in the arts world and that’s what people need to understand.”

Growing up Johnson listened to R&B, Jazz and classical music. When she began playing the piano at age four, her interest and appreciation for classical music took over. At seven years old she attended her first orchestra concert. It was then her musical flame was ignited and her fondness for the sound of the orchestra began.

While in undergrad, Johnson conducted The Wellesley College Symphony solidifying her plans to becoming conductor of a major orchestra. When she continued on to graduate school her pianist aspirations slowed. The rehearsal spaces at the University of Chicago not being exactly state of the art — all of her focus was on attending master classes and gaining on-the-job experience. “You have to have access to an actual orchestra, because our instrument is not the baton; it’s the actual orchestra,” she said.

As a pianist she enjoyed being able to play solos and accompaniments at the same time. However, with string instruments, she recognized the individual instruments were merely pieces to a larger puzzle.

“The violins are only playing the violin part, the cello is only playing the cello part. They’re just playing a bit of the music; it’s not the whole piece itself,” Johnson said. “As a pianist, unlike a string instrument, I can play as many fingers as I have. When it came to orchestra, I didn’t just want to play one little instrument.”

Realizing that a piano wasn’t necessarily part of an orchestra, she knew that if she wanted to produce and control the music that the entire orchestra makes, her role would have to be that of a conductor.

Taking freelance jobs, winning the acclaimed Taki Concordia Conducting Fellowship in 2005 and founding the BPCO lead to one of Johnson’s greatest experiences in music. In February of this year — through a Philadelphia connection with music group The Roots — Johnson conducted a 36-piece orchestra alongside Jay-Z, Nas and Alicia Keys at Carnegie Hall.

“The Roots were the back-up band for the Carnegie Hall performance. I’d known those guys so when Jay-Z said he wanted to do a fundraiser and have an orchestra along with the band, they called and asked if I’d be interested in conducting,” said Johnson.

“It was all kind of last minute; we had a week of rehearsals and it was just a really wonderful experience. People don’t think about needing an orchestra for a hip-hop concert, but a lot of Jay-Z’s music has samples, strings and brass instruments so it all just fit together.”

Although BPCO only plays classical music, conducting at a hip-hop concert isn’t the only time Johnson has integrated other genres and mediums. Aside from rehearsals, composing and prepping for new seasons BPCO participates in community outreach programs. Musicians from the orchestra visit schools and speak to students about orchestra and conducting.

At BPCO’s upcoming iconduct Festival, onlookers will have the opportunity to participate in mini conducting lessons and even get a chance to practice with the orchestra — to understand what Johnson is so passionate about and to actually feel what Johnson feels when she closes her eyes and sharply swivels her baton.

“When that gentleman in California told me [my image didn’t fit the part], I could have gotten really angry, called up the NAACP, written an open letter and cried discrimination,” she said. “Instead I said, ‘I understand what you’re saying, I’m going to prove you wrong’. As black women we have to use that anger for positive change. Sometimes no is an incredibly motivating word.”