When it comes to jazz vocalists, it is too often the case that they stick to a standard repertoire, reinventing the wheel by holding fast to the Great American Songbook. That’s not always their fault — an audience for innovative vocalists is lacking — but there are also too few singers who really try to stretch the medium in new directions. Fortunately, within the District’s jazz community, there are several singers who are trying to do just that. Musicians like Lena Seikaly, Jessica Boykin-Settles and Christie Dashiell are all trying to stretch the boundaries of what it means to be a contemporary jazz vocalist. Another name to add to that list is Akua Allrich, whose distinctive sound is rooted in jazz, but embraces the gamut of the African diaspora in a way that is both refreshing and respectful of tradition.

Born and raised in Washington, D.C., Allrich’s parents moved here in the ’60s to attend Howard University. Her father, saxophonist Agyei Akoto, exposed her to music from a very young age. After attending an Afro-centric private school while growing up, she continued her family’s Bison tradition by earning an undergraduate degree from Howard in music, as well as a master’s degree in social work. In addition to her father and godmother, singer Kehembe V. Eichelberger, Allrich cites singer/drummer Grady Tate, pianist Charles Covington and saxophonist Charlie Young as mentors.

In 2010, Allrich released her debut album, A Peace of Mine, to positive reviews. Her fluid and graceful voice glides over rhythms that draw upon jazz, reggae, African and R&B influences. The buzz from that recording led to her signing with a Japanese record label and a collaboration with the historic Bohemian Caverns, where she is now featured on the second Sunday of every month. Allrich will present a special program in honor of Mother’s Day in May and is also planning a tribute to Nina Simone and Miriam Makeba this summer. All in all, the future is bright for this talented young artist.

DCist interviewed Allrich to get her thoughts on her album, career, and jazz in D.C.

How would you characterize yourself as a singer?

How would I characterize myself as a singer? Wow, that is difficult for me to answer. I am a singer who is inspired to create by people, culture and most of all, spirit. If it feels good and has a sweet sound, I’m into it. I would definitely say that I have a base in jazz, blues, soul and African rhythm. I am really big on a full and complete expression that touches people in a palatable way, stretches their imagination and fills their hearts.

I pull sounds and feels from all types of music. It’s a natural tendency for me and I view the line between most genres as artificial. I think it is easier for critics, promoters and such to pick one or the other. For me and many of my fellow musicians, it makes more sense to incorporate all the musical influences that have touched us — the music of our generation.

What did you want to accomplish with your latest CD? Where did the material come from?

This is my first CD, and my goal was to introduce myself to music lovers. A Peace of Mine was designed to give people a frame of reference for who I am, and what I have to say. It is truly a piece of my musical experience and me: from jazz to traditional African rhythms to bossa nova, reggae and so on. Listeners get a glimpse into my experience as an African woman born in America — and everything that comes with that. The material is a mix of my originals, some collaboration between myself and the album producer, A. Jermaine Mobley, and a few jazz standards.

What was the recording process like?

While I am very comfortable on stage — that’s where I come alive and really exchange energy with the listeners — recording is another matter. I was fortunate to be working with a great friend and musician, A. Jermaine Mobley, so the process was a lot warmer than it could have been. It was still challenging. I had to really dig deep and pray that it would come out well, and it did. Jermaine really worked his magic with the production of the music.

You have an eclectic set of influences on the album. How did you make sure the album would flow as a whole?

Having one producer helped unify the whole. We worked through the entire process together and, musically, he really understands my point of view. The process was actually very smooth and all the tunes just worked! It was synergetic. I think the album has a well-rounded feel. There are several stories and experiences in there, but they all connect. By the end of the album, a statement has been made.

How do you hope to see your career progress in the short, medium and long term?

I plan to continue developing my musical style and expanding my listening audience. I’m really excited that my music is being introduced in Japan. I’m looking forward to branching out from there internationally and continuing to branch out here in the States.

Aside from it being an opportunity to perform, is there anything specific you hope to present through your shows at Bohemian Caverns?

In the March concert, we celebrated women in jazz. On Sunday, April 10, we’ll celebrate jazz and Japan. It’s Jazz Appreciation Month, and the last day of the Cherry Blossom Festival. Celebrating our friendship with Japan is important to me. I recently signed a deal with a Japanese record label, Inpartmaint Inc., so Japan is now part of my musical listening family. It’s only natural to send prayer and good energy to the people as they cope with a double disaster. The May 8 event will be a Mother’s Day celebration. It’s the day after Howard University’s graduation, so it’s going to be awesome!

Who are you playing with at these shows?

I’ve been blessed to be able to work with some of the most talented and wonderful musicians in the area, including Kris Funn, Janelle Gill, Hope Udobi, John Lamkin, Nathan Jolley, Jabari Exum, Braxton Cook, Gabrielle Murphy, Delandria Mills, Ronald Rolling and my father, Agyei Akoto, has even blessed the stage with me. On Sunday, the line up is Janelle Gill on keys, Kris Funn on bass, Nathan Jolley on drums, Agyei Osei Akoto on congas and Gabrielle Murphy on saxophone with me on vocals. It’s going to be hosted by the amazingly talented writer and poet Bassey Ikpi.

What can the audience expect at next week’s show honoring Japan?

They can expect great music with some uplifting messages and fabulous music. Music has always helped people get through tragedies. It reminds us of the good and how we made it through before and will make it through again. We’ll perform my originals and some jazz standards and hope to fill everyone with joy and good vibes. My aim is the have people walk out with an amazing and warm soul jazz experience.

How do you see D.C.’s music scene? What are its strengths and weaknesses?

D.C.’s music scene is amazing! From the time I was in college to now, it’s a totally different city. One major strength is that you can go just about anywhere in the city and find an awesome band. But that also means that presenting music is more complex and competitive. Clubs and audiences aren’t necessarily open to seeing new names. I’ve found you really need an advocate to help you get gigs and to promote you. I guess that’s just the nature of the music business.

Who are some of the local musicians you most admire?

I admire all the musicians that I have been playing with! There are so many talented musicians; I wouldn’t even know where to start. I am just so grateful to be in their company and to be able to go and see them perform as well.

Akua Allrich’s next performance will be on Sunday, April 10 at Bohemian Caverns. 7 p.m. $12 in advance / $15 at the door.