A powerful and intimate Q&A with Kaylene Peoples on breaking barriers in music and publishing. Originally featured in LA Lifestyle Magazine.
“I believe that every artist deserves a platform, regardless of their commercial success or mainstream visibility. I’ve always been drawn to the stories of underrepresented musicians because I see myself in them. I know what it feels like to be overlooked or underestimated, and I want to use my platforms to change that narrative.” –Kaylene Peoples
From classical compositions to cutting-edge jazz, from fashion publishing to live performance, Kaylene Peoples has forged a career defined by creative risk-taking and boundary-breaking. As a multi-award-winning composer, jazz artist, publisher, producer, and director, Peoples has consistently pushed the limits of what’s possible in the worlds of music and media. In this exclusive interview, she reflects on her journey, the challenges of being a woman in jazz, and her mission to elevate underrepresented voices through her groundbreaking publications, including AGENDA, Jazz Influencers, Virtuoso Bass, The Performing Artist, and Schmooze Jazz.
- Kaylene, you’ve been called a true Renaissance Woman — a multi-award-winning composer, jazz artist, publisher, and producer. How did this journey begin, and what continues to inspire you today?
My journey began with a deep love for music, shaped by years of classical training and a passion for jazz. I studied music composition, ethnomusicology, conducting, and my early experiences as a multi-instrumentalist gave me a unique perspective on arranging and orchestration. Over time, I expanded my creative pursuits into publishing, where I found a new way to share my artistic vision. Today, I’m inspired by the artists and creators I work with, the untold stories in the jazz world, and the desire to elevate underrepresented voices through my publications—this is KL Publishing Group’s mission.
- As the founder and editor-in-chief of multiple magazines, including AGENDA, Jazz Influencers, Virtuoso Bass, The Performing Artist, and Schmooze Jazz, what motivated you to create these platforms, and how do they reflect your vision for today’s creative voices?
Each magazine launched, represents a facet of my artistic journey and a response to gaps I observed in the industry. AGENDA began as an online publication, pioneering multimedia content with streamed runway shows and documentary-style interviews—ahead of its time and the first of its kind, mostly focusing on designers. Transitioning to print in 2014 was a formidable challenge; it took six months of persistence to navigate the approval process with Amazon’s publishing platform, which was not designed for magazines at the time. I even had to translate a German document to meet their specifications. Despite setbacks, including an initial print edition that didn’t meet my standards, I was determined to produce a high-quality, 232-page glossy magazine that combined fashion, lifestyle, and culture. (The AGENDA Story) & (Feedspot.com’s Top 5 Print & Online Magazine in Los Angeles.)
This experience taught me the importance of perseverance and innovation. Similarly, Virtuoso Bass was created to spotlight jazz bassists and their unique contribution to the genre, and Jazz Influencers aims to bridge the gap between jazz legends and NextGen artists, offering fresh perspectives and practical insights for today’s musicians. Through these platforms, I strive to amplify diverse voices and provide content that resonates with both industry professionals and enthusiasts.
(Above: A curated collage of AGENDA covers showcasing powerful storytelling, timeless design, and award-winning editorial excellence. Recently ranked as one of Feedspot’s Top 5 Magazines for 2025, AGENDA continues to set the standard in fashion, culture, and creative publishing.)
- You recently launched Jazz Influencers, which has been getting a lot of buzz. It got “#1 Best New Publication” in its category on Amazon the first day it published, as well as #1 Best-seller in a jazz-related category. What sets this magazine apart from others, and what inspired its creation?
Each magazine created reflects a different facet of my artistic interests and/or experiences. AGENDA began as a high-fashion, luxury lifestyle magazine, while Virtuoso Bass, curated by Bunny Brunel—its Editor-at-Large—was born out of the legendary bassist’s respect for the often-overlooked contributions of highly skilled, pioneering bass players mostly in jazz fusion and straight-ahead.
(Above: Virtuoso Bass Magazines Issues 1, 2, & 3; Cover Stories – Issue 1: Bunny Brunel, Editor at Large; Issue 2: Bassist Ron Carter; & Issue 3: Bassist Stanley Clarke (Bunny Brunel & Stanley Clarke Photographed by Ash Gupta 838 Media Group; Ron Carter was styled by Ty-Ron Mayes & Photographed by Udo Spreitzenbarth)
Schmooze Jazz is a tribute to the innovators in the contemporary jazz genre and related styles (including Neo Soul, R&B, Latin, etc.), and The Performing Artist is a celebration of all (expressive) performance art which focuses on theatre, actors, dance, playwriting, podcast hosts, comedians, authors, modern/traditional composers, and musicians.
(Above: Schmooze Jazz Issues 1&2 with cover stories – Dave Koz, and Bobby Lyle (Issue #2 was “Best New Publication” on Amazon”); and The Performing Artist Issue #1 with cover story – Levy Lee Simon (All Photos by Ash Gupta 838 Media Group & Asst. Photographer Joel Wicecarver)
Jazz Influencers is KL Publishing Group’s latest launch, a magazine that breaks the mold by spotlighting the next generation of jazz creators alongside the legends, offering a fresh take on a genre that is often boxed in by tradition.
(Above: Jazz Influencers Issue 1 (l-r) Grammy-winning keyboardist/guitarist Dan Farrow on the Cover; features include a tribute to Roy Ayers; Bunny Brunel’s “Low End Logic” column; Women in Jazz; Ai Recording & Streaming; & full table of contents.)
- In a field dominated by men, you’ve broken barriers as both a jazz artist and a publisher. What challenges have you faced, and how have those experiences shaped your perspective?
Being a woman in jazz has meant facing double standards and occasional outright discrimination. I’ve had to fight to be heard, both on stage and in the boardroom, and I’ve often been underestimated despite my credentials. These challenges have only made me more determined to create platforms where voices like mine can thrive, and to push back against the narratives that limit what women in this industry can achieve.
- Your discography spans everything from cinematic jazz to Bossa-nova to holiday classics. Which of your albums or recordings stand out as defining moments in your career—and what do they reveal about your growth as an artist?
That’s a great question—because each album represents a different chapter in my journey. My Man was a huge turning point for me creatively—it’s probably the album I’m most proud of. It features the legendary Bunny Brunel, Bobby Lyle, and Hubert Laws on my award-winning single “Giant Steps.” And Grammy-winning guitarist Mark Hammond is featured on every track! The lineup I have on this album is mind-blowing, with a staggering number of collaborators: Del Atkins, Vernell Brown, Jr., Cory Mason, and countless other musicians, engineers, and guest artists. It is inspired by Barbra Streisand’s closing performance in the film Funny Girl, where she sings “My Man.”
That performance is what made me want to become a singer. I do “Mon Homme” (the French version of the song) and close out the album with my unique arrangement of “My Man,” the title track. Other highlights from that album are “Take 5,” “Blue Rondo a la Turk,” “Nature Boy,” “So Nice,” and “Spain.” Pianist Bobby Lyle composed a song for my album called “Time Traveler,” which is a favorite on streaming platforms and playlists. My Man was on the ballot for the Grammys. I documented every session and plan to one day produce the documentary the making of that career-changing album.
My EP Carol of the Bells let me tap into my Sergio Mendes influence and blend jazz with cinematic holiday magic in a way that really resonated; it is on iHeartRadio.
Another iHeartRadio album is Romantic Bossa-Nova, which is truly embraced in South America. It connected across borders and genres, and that felt like a real breakthrough. My single “Corcovado,” featuring Bunny Brunel, is still in rotation and has expanded to many countries around the world. This project won Album of the Week on Smooth.FM Portugal (also broadcasting to Canada and Brazil)—Romantic Bossa-Nova is still gaining traction.
Even my earlier work, All Jazzed Up!, had its moments. That album’s single, “Do You Remember,” topped several independent charts, and “One Note Samba” is still one of my most popular songs to this day. And vocally, I hit five octaves on “Wives and Lovers”—just as I did on My Man with my performance of “Stormy Weather.” Every project pushed me, but those albums in particular, showed me what I was capable of—and they laid the groundwork for everything I’ve done since.
(My entire discography can be found on Pandora, as well as Spotify, and other premium, streaming platforms.)
This last project, released in July 2024, titled Vampire Odyssey, has a special meaning. It was my first real score where I conducted an orchestra (and was featured on flute). It encompassed my training as a neoclassical composer and incorporated world music elements. Last November, I was awarded Composer of the Year (& a Multi-Genre in Musical Excellence Award) by the 2024 Olympia Arts Awards for that release. Being a female composer, that award meant so much to me. So I just had to mention it. It’s not jazz, but it shows my range. (Visit Spotify for the complete Soundtrack. Also Available on Pandora.)
- Your career spans multiple disciplines — from classical composition to fashion publishing to directing. What is the common thread that ties all of your creative pursuits together?
At the heart of everything I do is a commitment to storytelling. Whether I’m writing a piece of orchestral music, producing a jazz album, or publishing a magazine, I’m always looking to tell a story that resonates on a deep, emotional level. I believe that all great art, whether visual, musical, or written, has the power to move people and change perspectives.
- You’ve worked alongside some of the most respected names in music. Who have been your most influential collaborators, and what have you learned from those relationships?
I’ve been fortunate to work with so many legendary musicians, but the ones who made the most impact are Bunny Brunel, Hubert Laws, and Larry Dunn. Bunny Brunel blew my mind when I first hired him to play on my album My Man. His precision and level of playing bass was the best I’d witnessed. He filled in the spaces of my track “Nature Boy” with harmonics created off the bass strings (a technique he invented). Mind you, he was playing an acoustic bass. It changed the song! He knows how to really impress with his virtuosity, but always laid back and locked in with the drummer. He never steps on other musicians but instead complements their performances. But the thing that really stuck out about him is his soloing chops. I can honestly say, I have never seen a bassist solo at that level with such precision, feel, and accuracy. And mind you, that was on an upright. Then when I heard his music as a fretless player, I instantly fell in love with jazz-fusion. He brought melody to it, and power. His playing and his compositions are monstrous. I can see why he’s called a “Fusion Giant.”
(Above l-r: Bunny Brunel, photographed by Ilán Terrell (top) and Ash Gupta (bottom); Hubert Laws recording flute on “Giant Steps,” photographed by Arun Nevada; Larry Dunn, photographed by Sheryl Aronson.)
Hubert Laws is a flutist I followed as part of my musical journey—one of the reasons I play flute. Him playing on my album (he’s guest performing in my award-winning song “Giant Steps”). It was as if I came full circle with one of my most influential flute mentors.
Finally, Larry Dunn is the original keyboardist from Earth, Wind, & Fire. We played on a few recordings, as well as performed a few times together. His chordal creations are complex, yet land with the effect of simplicity. There’s something genius about that. You’d better have a big toolkit to pull from to create something of that level.
All these players I mentioned inspired me. They are iconic, and I feel so blessed to have collaborated with each one. They have contributed to my growth as a musician from discovering Hubert Laws as a child and memorizing his solos to expanding my mind with Bunny Brunel’s fusion genius to thinking outside the box with Larry Dunn’s treatment of chords. These collaborations have taught me the importance of creative risk-taking, the power of collaboration, and the need for authenticity when creating jazz in all its forms.
- As an artist, publisher, and entrepreneur, you’ve built a significant legacy. What are you most proud of in your career so far?
I’m proud of the artists I’ve been able to spotlight, the voices I’ve amplified, and the audiences I’ve reached. Creating these magazines, producing albums, and performing on stages around the world have all been highlights, but the true measure of my success is the impact my work has had on others.
- You’ve launched multiple magazines in just the past year, including The Performing Artist and Jazz Influencers. How do you manage such a high volume of creative work without losing your artistic edge?
It may look like I’m just popping out publications, but I’ve held onto these titles for many years—I was merely waiting for the right time to launch them. I admit, this year has been busy. And I still have a few more to launch before 2026. One of them being Bella Composers—a burgeoning female composer’s platform that got cut down by Covid during its stride. The daunting part is creating the design and focus. I don’t want to be a copycat publisher. I want to put out underrepresented content, solve problems, and guide people toward their goals. I am a veteran publisher, and I have seen a lot of content that is oversaturated. I just wanted to have a fresh perspective and touch another demographic of readers. As far as my artistic edge, it’s really about finding balance and staying connected to my original inspiration. I never lose sight of why I started creating in the first place. I also surround myself with talented, passionate people who push me to keep innovating and expanding my creative vision.
- What’s next for Kaylene Peoples? Any new projects, albums, or creative ventures you can share with us?
I’m currently working on several new publications, expanding my media presence, and exploring new musical collaborations. I’m also passionate about mentoring the next generation of artists and helping them navigate the ever-changing landscape of the music industry. In recent interviews I talked about album projects that are still in production. Hoping to complete both projects by fall of this year: Romantic Bossa-Nova 2 and Doppleganger, a spy jazz/lounge experimental album with a hint of fusion; I may even be able to squeeze in a holiday EP! I produced a variety show (Kaylene & Friends Christmas), with comedian/TV writer Kevin Foster (Monogamy), Hammond Chamberlain (Beyond the Playlist), and a feature film called Accidental Squatter. Both projects star Chase Masterson (Star Trek: Deep Space 9). A suspense thriller, Accidental Squatter introduces actress Leigh Bush, co-starring Masterson and Ali Saam (Argo) with actor Scott F. Evans and Devino Tricoche. I also produced and directed a limited series talk show titled Inside A Life, hosted by award-winning journalist Sheryl Aronson which is also scheduled for a fall release. Beyond that, mentoring the next generation of artists is becoming a big part of my mission. This really just touches the surface. I’m always working on something!
- Finally, for those just discovering you through this feature, how would you describe your artistic mission and the legacy you hope to leave?
My mission is to create, elevate, and inspire. I want to leave a legacy that reflects my passion for journalism, storytelling, my respect for the craft, and my belief in the power of artistic expression to change the world. I am hoping what my publishing company (KL Publishing Group) is doing will inspire other publications to do the same—start looking outside the obvious box and bring new ideas, new talent, and those who are doing amazing things but aren’t getting recognized to the forefront. We need more of this. I see a lot of new magazines coming out, which I am thrilled about. There are supposedly five “branded” publishing companies—literally forcing other publishers into the title of “Independent.” That right there must stop. Who made and enforced that rule? I have seen some of the most compelling new magazines come out that rival Hearst and Condé Nast publications. The work that goes into a periodical on these levels is extensive and vastly complex—especially in the medium of print! There’s a reason it’s called “printer’s hell.”
Regarding artists—please keep creating! No matter what anyone says, keep going. Your audience will find you if you consistently put out content. And now, with social media platforms, there are no more gatekeepers stopping you from getting recognized, the sky is the limit. Do the research and use the new tools available to you, and launch your career. And my advice to anyone who creates is, do not compare yourself to other creatives. We are unique, and what may resonate with one person, may not resonate with another. Do your homework. Learn as much from experts as you can. Expect criticism—It’s part of the process. Expect failure—that’s how we improve. And once you’ve arrived, reached the pinnacle of excellence in your work, the only critiques should be if the quality or production values aren’t up to snuff—not your creative concepts. If you have a burning passion, don’t let anyone tell you it can’t be done. And as long as there are publishing platforms like mine, anything is possible—and in time, you, too, will get the recognition you deserve.
To learn more about Kaylene Peoples, stay up to date on her projects, or just to connect on social media, visit: kaylenepeoples.com, Instagram, or X.
Credits: Cover & Graphics:- First Take PR Photography