Written interview with guitarist, composer, arranger SOCRATES GARCIA – Shadows of Tomorrow.
Jazz Blues European Union: – Thank you for taking the time to have this interview with Jazz Blues EU. Tell us about your music. When did you start performing?
Socrates Garcia: – My music is a fusion of contemporary jazz, the rich rhythmic traditions of the Dominican Republic, where I was born and raised, and rock/ metal, which is where I began my career. I blend elements of merengue, palos, bachata, and salsa with modern jazz harmony, orchestration, and improvisation.
I began performing as a teenager in Santo Domingo, playing guitar in local bands before expanding into recording, production, and education (I taught Jazz Harmony at the National Conservatory of Santo Domingo from 2000 to 2005). Later, I moved to the United States to pursue formal studies in jazz composition, earning a bachelor’s degree in theory and composition from Luther College, a master’s in jazz studies (composition) from Middle Tennessee State University, and a doctorate in jazz studies (composition) from the University of Northern Colorado. That blend of Caribbean roots and formal academic training continues to shape everything I write today, a fusion of tradition and exploration.
What do you consider to be your hometown and how does that affect your music?
My home country is Dominican Republic. The sound of Dominican instruments such as tambora and güira, and the collective energy of Dominican culture are deeply embedded in me. Even when I write for large jazz orchestra, that pulse, that sense of alegría and resilience, finds its way into the music. It’s a rhythmic DNA that I carry with pride.
What performers have been your inspiration?
I’ve drawn inspiration from a wide range of artists, both composers and performers. From big band masters such as Duke Ellington, Thad Jones, Jim McNeely, and Maria Schneider, to many Latin music and Latin jazz artists who shaped my roots. I’m also influenced by rock and fusion players like Allan Holdsworth, Frank Gambale, Steve Vai, and Joe Satriani, among many others. It’s that intersection, where jazz meets raw Caribbean rhythms and heavy rock that excites me the most.
What do you find most challenging about being an independent artist in today’s music industry?
My big band music is released through Summit Records, a label that gives me total control over my art, from composition to mixing to how it’s presented visually.
The biggest challenges, in my opinion, are visibility and the difficulty of making a living with your recorded music. There’s an overwhelming amount of music being released daily, so cutting through the noise requires creativity, beyond the studio, in marketing and connecting authentically with listeners.
The fact that most of the listeners are preferring streaming is a huge challenge since the payout from the streaming platforms is ridiculous. It’s crazy that a single CD sale makes more to the artist than thousands of streams; but at the same time, streaming leads to, potentially, more exposure and the possibility of some, albeit limited, passive income. In my opinion, if a person loves an artist’s music, they should support them by buying their albums and merch, if possible, directly from the artist’s platforms. This allows the artist the option of creating and releasing new music.
What do you base your success on?
For me, success is measured by artistic fulfillment and genuine human connection. When a listener feels something like joy, nostalgia, or hope, then the music has done its job. Recognition and awards can open doors, but the real reward comes when someone reaches out to say that one of my pieces moved them or reminded them of home.
I believe that what people connect with most in my music, and in our live performances, is authenticity. Every note we play carries the love, respect, and joy we feel for what we do. That honesty, that collective energy within the ensemble, is what truly resonates with audiences and makes each performance an unforgettable experience.
Can you talk about your experiences collaborating with other artists or musicians? How does it influence your creative process?
Collaboration is at the heart of everything I do. With the Socrates Garcia Latin Jazz Orchestra, I work with incredible musicians and friends who bring my music to life. Artists such as Brad Goode, Wil Swindler, Don Aliquo, Clay Jenkins, Paul McKee, Jeff Jarvis, Pablito Peña, Félix Garcia, and Ivanna Cuesta, among all the other members of the SGLJO, make my vision come through.
I also collaborate with filmmakers such as on the Dominican/French movie Au Revoir by director Ronni Castillo and producer Jalsen Santana and Leticia Brea, to which I wrote the score. I also contributed an original arrangement to Milly, the biopic about Dominican music icon Milly Quezada, directed by Leticia Tonos, a project that beautifully celebrates one of our nation’s most beloved voices.
These projects, alongside the music I write for the SGLJO, push me to see music through different lenses, rhythmically, emotionally, and visually.
What was your latest musical release?
My latest album, Shadows of Tomorrow, performed by the SGLJO, was released on August 22, 2025 through Summit Records.
Do you have any news to share? Could you share the story behind your latest new CD SOCRATES GARCIA – Shadows of Tomorrow and what inspired its creation?
Shadows of Tomorrow was born out of reflection on uncertainty and hope, on the belief that even in dark times there is always a path forward. The album features six original works, including “AG’s Resting Face… Scary!!!,” written for my daughter, and the three-part suite Illusions, Delusions… A Glimmer of Hope, my artistic response to the current geopolitical climate. The suite unfolds in three movements: the bachata/salsa-infused “The Wizard’s Wicked Charm,” followed by two merengue-based pieces, “Liars and Fools” and “The Mold Breaker (The Bringer of Joy).”
The album also includes “Brad’s Dreamy Samaná Night,” a trumpet feature written for the incredible Brad Goode, and “Sultry Villa Mella Twilights,” which bridges modern jazz with Afro-Dominican palos drumming. Deeply personal yet universal, Shadows of Tomorrow is a journey through darkness toward light, an exploration that weaves together Dominican and Caribbean traditions, heavy-metal energy, and the rich textures and intricacies of contemporary big-band jazz.
How does your latest album fit into your creative path? Is this a goal you wanted to achieve?
The way I see it, Shadows of Tomorrow is a continuation of what I started with the previous album, Back Home (Summit, MAMA Records), bridging my Dominican heritage with large-ensemble jazz. But it’s also more introspective, both musically and conceptually. I’m very proud of this project. I see it as a milestone, representing growth as a composer, producer, and human being, and I hope it will serve to open a new creative door for the following project with the SGLJO.
How do you approach the process of songwriting, and are there any specific themes or emotions you tend to explore in your music?
Most of my large jazz ensemble works are intricate, through-composed pieces that I approach much like short stories. As each piece unfolds, I introduce new “characters,” musical ideas that evolve and interact within the fabric of the composition. I often begin with a vivid image, a melodic motif, or a rhythmic idea, letting that seed guide the narrative. Many of my pieces are born from personal experiences or the people who have shaped my journey.
I’m drawn to exploring contrasts: joy and melancholy, structure and freedom, complexity and groove. At their core, my works reflect resilience, identity, and hope, themes that have accompanied me throughout my life and continue to define my creative voice. I’m a very passionate and energetic person, which also is reflected in my music.
As an indie musician, how do you navigate the balance between creative freedom and commercial appeal?
I always start with honesty. I write what I need to say first, and only then think about how to present it in a way that invites listeners in. The music I create for the SGLJO gives me the freedom to explore without the constraints of commercial expectations. On Shadows of Tomorrow, I felt an even stronger urge to express myself freely, to let the music speak in a more personal, artistic way.
I hope that the fusion of styles, the rhythmic grooves, the remarkable musicianship, and the production choices will bridge that space between pure artistic vision, accessibility, and commercial appeal. Ultimately, I believe listeners can feel authenticity and that connection is what keeps them coming back.
What role does technology and social media play in promoting your music and connecting with your audience?
Technology is an essential part of my every-day-life, from composing in Finale and producing in Pro Tools, Digital Performer or Logic, to sharing the finished music through my website and social media. Platforms like Instagram and YouTube allow me to tell the story behind the music, not just showcase the final result. It’s about inviting people into the creative process and celebrating the community that grows around it.
A significant part of my time is also devoted to teaching music technology and recording/mixing courses at the University of Northern Colorado, where I serve as Director of the Music Technology program. In addition, I record and mix projects for a variety of artists, as well as my own, from my professional home studio.
Could you describe a memorable live performance experience or tour that has had a lasting impact on you and your music?
There have been many memorable performances, but one stands out vividly in my memory. In 2023, I toured the Dominican Republic with the University of Northern Colorado’s main jazz ensemble, Compass Jazz Orchestra, alongside the entire UNC jazz faculty. Among the concerts we played, performing at the National Theater was particularly special. I had played that same stage many times as a sideman, but this was the first time performing under my own name, which made it unforgettable.
We premiered several pieces from Shadows of Tomorrow, and the energy in the room was electric. The connection between the orchestra and a packed audience reminded me why I make music. It was deeply emotional to share my compositions with a Dominican audience in that setting. The tour, sponsored by the U.S. Embassy in Santo Domingo, was a moment of immense pride and gratitude, both personally and artistically.
In an era of streaming platforms, how do you feel about the changing landscape of music consumption and its impact on independent musicians?
Streaming has democratized access to music but made it harder for independent artists to sustain themselves financially. That said, it has also created a direct line to listeners worldwide. I try to focus on making the most of that, combining streaming with physical releases like CDs and merchandise to build a sustainable ecosystem.
Musicians often have a close relationship with their fanbase. How do you engage with your fans and build a dedicated community around your music?
I try to keep things personal and genuine. Whether it’s through my social media posts, blogs, behind-the-scenes videos, or my online store, I want people to feel like they’re part of the journey, not just spectators. Every purchase, every message, every show means something to me. The community we’re building is truly special.
How can fans find you? Lastly, please share some final words with the fans.
People can find me at socratesgarcia.com, IG: @socgarciamusic, FB and youtube: socratesgarciamusic.
To everyone who has listened, shared, or supported this music, gracias de corazón. Shadows of Tomorrow is about hope, resilience, and connection. I hope it brings a bit of light to your day, just as your support brings light to mine.
And to all music lovers: please continue to support the artists you enjoy by purchasing their music, merchandise, and concert tickets. It’s what allows us to keep creating the art that moves and unites us.
By Olivia Peevas
