Lindsay Marie Morris

Growing up in Messina, Sicily, greatly impacted Massachusetts-based jazz singer, pianist, and composer Daniela Schächter. Drawing from her experiences within a musical family and the Mediterranean views of her former home, her music has led her to prestigious jazz festivals and renowned venues, from the Hollywood Bowl to the Kennedy Center. Along the way, she has collaborated with acclaimed artists and won several awards for her contributions to jazz music. 

 

Daniela and I recently chatted about her musical influences, her decision to pursue jazz as a career, her role as an associate professor at Berklee College of Music, and more.

How did your experiences in Sicily shape your career?

I had a musical family. My father was a piano player. He didn't turn that into a career, but he played all the time, and my mom sang. So, I grew up with music around my house, and my brother, Davide, is a jazz guitar player. So I started studies in classical music, took lessons, graduated from the conservatory, and then started teaching and playing. I did lots of different jobs: accompanying singers, working for the Philharmonic Academy, and playing ballet pieces. Then, I started playing with rock bands and jazz groups. That was really fun. I had lots of friends and lots of concerts; it was beautiful.

There is lots of jazz still going on in Sicily; it's really a land full of talents. I was there until I was 28, when I moved to the U.S. I thought I would stay for six months, but then I decided to stay longer. 

 

What inspired you to pursue jazz?

That's probably because of my mother's influence. She listened to lots of Ella Fitzgerald, Oscar Peterson, Louis Armstrong, Tony Bennett, and all the great singers of the jazz era. She would take me to a little jazz club back in the day, and she would go there and sing with other musicians.

I loved listening, and then I took lessons in jazz piano. My brother started playing in little jazz groups, so there was a lot of jazz in the house.

I felt that jazz was closer to my soul in a sense and harmonically closer to the classical composers that I felt very attracted to.

 

When I was in Sicily, I was actually doing lots of different styles. But then, when I moved to the U.S., I just decided to marry the jazz world. I didn't really continue with rock groups. I still love lots of the music that I played, but I just don't play it anymore.

 

Which musicians or composers have the biggest influence on your work?

Well, classical, definitely Ravel and Debussy and also Bartók and Stravinsky. So lots of contemporary composers. But of course, I also love Rachmaninoff and Chopin. For jazz, I have lots as well. So, from Gershwin to more contemporary stuff. Of course, I love Sarah Vaughan and Mel Tormé; those vocalists are very dear to me. But, of course, great pianists like Keith Jarrett and Bill Evans. They really made an impression, and probably, they're still in my sound.

 

From where else do you draw inspiration?

I am inspired by lots of different things. First of all, nature. My second album is dedicated to the colors of the Mediterranean Sea, so it's called I Colori Del Mare. And that is my favorite album that I recorded because it really brings me back to all the colors of Sicily, the sea, and the beauty of nature.

 

Nature is definitely my main inspiration, and everything related to the sea because I grew up in Messina, which is surrounded by sea. 

 

 

You've won several awards. Which is most meaningful?

I think of the Mary Lou Williams Jazz Piano Competition because that was the first. That was really promoting women and women in jazz. It was very competitive, and I felt that everybody really deserved it as much as I did. Everybody was really good, and I didn't really feel that I was going to get it, so it was a great joy when that happened. I was really happy that the judges found something a little bit different and something special in me. Pianists Geri Allen and Billy Taylor were among the judges, jazz legends for whom I have so much respect. Sadly, they are not with us anymore.  

 

You're an associate professor at the Berklee College of Music. What do you enjoy about your role?

I enjoy it when I have foreign students who come to me and need guidance. Most of them are super talented, but they need guidance in finding themselves in a place they don't know, which is new to them. I love helping them get used to a new environment and explaining my experience because I went to Berklee College of Music myself. So, I can totally understand what they go through, how they process things, and how overwhelming the whole system can be. 

 

How do you see your music evolving?

My music is going to evolve with my own person, evolving and finding more balance. I often go to Italy because I want to keep the connection. I want to remind myself who I am, what I love, and where I'm coming from. I want my daughter to feel the same. She actually feels Italian, which is something that makes me really happy. 

 

I want to find a balance between my professional life overseas and my professional life here. Since I have a 7-year-old daughter, she took a lot of energy, and I couldn't commit to several engagements. Between that and the pandemic, I've not really been performing as much as I love to. So, I would like to find myself performing more often, especially in my own country. 

 

What do you hope to deliver to your audiences through your music?

What I try to communicate is images of, for example, nature. So, the way I see it, and in many of my compositions, I describe a lake, pond, or leaves that fall. And I would like my audience to feel the way I feel.

 

I also write lyrics, and sometimes, the message is easier to understand through words. Writing more songs with lyrics will also help me in that sense. I love to write wordlessly, but at the same time, I have a few songs with lyrics, and I would like to continue with that and even include more lyrics in my pieces. 

 

 

 

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There are countless ways Sicilians have touched, inspired, and vivified American culture, one of which is through music. 

I recently discovered the introspective yet energizing works of Chicago-based composer and pianist Maria Rago, who hails from the small Sicilian town of Santa Caterina Villarmosa in the province of Caltanissetta. Atmospheric and even otherworldly, the title track of her latest album, Red Land, blends electric guitar thrashing with symphonic sounds. Like so much of her music, it defies genre constraints with vibrancy and texture drawn from her Sicilian heritage. 

"My Sicilian roots have significantly influenced my identity as a pianist and composer," says Maria. "The way I perceive the world—its sounds, colors, the contrasting shadows of tragedy and beauty, the allure of history, the relentless sun, and the vibrant spirit of the Sicilian people—shapes my artistic vision. Being an islander allows me to create an 'island' of sound, a smaller haven within a broader context."

 

Maria took time out to share her music inspiration, creative process, favorite composition, future projects, advice for musicians, and what she hopes listeners take away.

 

 

What inspired you to pursue a music career?

Music has always been central to my life, but it wasn't until I turned 24 that I transitioned from being a listener to becoming a musician, ultimately deciding to dedicate my life to music. It happened during a cello concert when I found myself immersed in the notes of "Suite No.2 in D Minor" of J.S. Bach. Amid those vibrations and melodies, I realized this was the world I longed to be a part of—a realm of infinite possibilities where I knew I was a unique piece of that puzzle. When you write or perform, you expose your inner self; it feels as if you are recounting your own story through another's voice, sharing, rediscovering, and sometimes concealing the experiences that shape you, all through the medium of music.

 

Who are some of your biggest musical influences?

In my musical journey, the music of J.S. Bach and his infinite being, the earthly conception that meets the universal—the divine that is revealed among his compositions—has a fundamental role. There is a sacredness that runs through his work, a human logic that transforms into a spiritual path, a path that leads you elsewhere. The divine manifesting itself in man. This path impacted my compositions not in the stylistic sense but in the spiritual sense. 

I also admire Ludwig van Beethoven and his human testament, a project around man and where man dares, challenges, chooses, free from every chain. The divine manifesting itself in nature. Here are two composers who approach, through music, the concept of life differently. 

 

Can you tell us more about Red Land?

The album Red Land emerged from the desire to blend two musical languages: classical orchestration and the electrifying sound of the guitar, masterfully played by Martin Szorad, among other amazing musicians. This album paints the world in hues of red, reflecting a tumultuous environment filled with conflicts and strife—a world where life is hard to come by, yet death is all too easy. Red Land embarks on a journey through such a reality, with the electric guitar serving as a poetic explorer seeking the lingering beauty within.

 

Do you have a favorite piece you've composed, and what makes it special?

Typically, after completing a piece, I try to distance myself from it. When I revisit it later, I often feel as if it no longer belongs to me; it becomes a "free creature with its own life," one that I no longer recognize, a "being" detached from its "creator." However, there is a piece titled "Lullaby on the Sea," composed just as I was leaving Sicily—a farewell to my homeland, where I felt that "creature," which is me, started to separate from its origin: Sicily. 

 

What upcoming projects or performances are you most excited about?

I recently composed soundtracks for two projects: one called The Rebellious River with Studio Dance Arts New York, aimed at supporting young talent in the Bronx, and another, called Two Hands, with the organization Unity Freedom Power in collaboration with an English production, using hands as a symbol of either unity or destruction depending on one's decisions. I'm particularly excited about a new theater project exploring the lives of remarkable women throughout history, guided by the exceptional mediator Leonardo da Vinci.

 

What advice would you give emerging musicians?

Being a musician is a privilege that demands love, dedication, and relentless practice. My advice for emerging musicians is to cultivate the ability to listen, remain curious, and not take themselves too seriously. Let the music lead you; ultimately, it's the music that transcends time when everything else fades.

 

What do you hope listeners take away from your music?

Writing or performing opens you up to vulnerability; you lay yourself bare, taking risks in communicating your intended message, never knowing how an audience will interpret it. My hope is that listeners walk away with an idea, a thought, or a mindset—not always positive, but rather a perspective that prompts reflection. Indifference is the greatest enemy, and it's what art, music, and humanity simply cannot afford.

 

 

 

 

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