LA-based composers/producers Wow Jones and JimiJame$ are carving out a unique lane in the scoring world by blending hip-hop and classical arrangements or weaving ambient vocals into a sonic landscape. As
Boss Academy, their credits include work on AMC’s
Parish, Tyler Perry’s
Duplicity and the Netflix series
Tyler Perry’s Beauty in Black. The creatives recently took time to share with
Post insight into their creative process.
What is your approach to a project like Tyler Perry’s Beauty In Black - Part 2, which combines multiple genres and emotions?
“We start by diving into the script and the series presentation. We’re intentional about studying the character dynamics, emotional arcs and overall feel of the project. We like to design a score that supports the storyline. With Tyler Perry's Beauty in Black, we wanted the sound to be fun, catchy and emotional, where it’s fitting. We incorporated hip-hop elements with underlying R&B melodies, layered in some orchestral textures and crafted motifs that evolve with the characters. As artists, we’re constantly crossing genres to enhance the stories that we tell. We aim to create an impactful sound by taking a cinematic approach to each project. With Beauty in Black, we added some quirkiness and an edge to complement the plot twists and to help modernize the soap-opera format. We wanted to create just enough of a roller coaster ride to keep you coming back for more.”
Talk about your work with a director like Tyler Perry and how do you ensure that the musical direction aligns with his vision.
“We work closely with music supervisor Joel C. High and his incredible team at Creative Control — Lia Avraham and others — they do an amazing job making sure Mr. Perry’s vision is clear, cohesive and creatively inspiring.
“For Beauty in Black, (Tyler) requested us specifically after enjoying our work on Duplicity. He took a liking to our style. When it came time to collaborate, we were already in sync with the tone and goals of the project, which gave us room to create with trust. It was all perfectly aligned, and the world is loving it!”
What are some of the tools and software you rely on to develop your soundtracks?
“We mostly work in Ableton and Pro Tools, depending on the needs of the scene and the collaborators involved. We always start with session prep — optimizing our setup so the workflow is seamless and the creative flow isn’t interrupted.
“We’re big fans of the SoundPaint platform, created by Tawnia and Troels Folmann. Their instrument library is rich and versatile. We like to experiment with sound FX and instruments to create signature sounds.
“We also prioritize our operational structure with our music supervision and editing teams. Organizing the workload for each project gives us the freedom and versatility to adapt to project requirements.”
In the case of Duplicity, were there any unique challenges?
“To be honest, Duplicity was one of those rare projects where everything just flowed. We had time, space and trust from Tyler Perry Studios and the entire music team. They gave us free rein to create with no boundaries! It’s a great example of what happens when there’s clarity of vision on all sides and no unnecessary constraints — what you hear in the final score is the result of having freedom and alignment.”
Can you talk about integrating musical elements with newer, more experimental sounds for say Duplicity or Beauty In Black - Part 2?
“Absolutely. We combined a very classic, textured piano with a deeper, synthy bass. We started using sound FX in AMC’s Parish, which we further developed on Tyler Perry’s Duplicity and Beauty In Black. We mixed sound design and instruments to make signature rhythms and tones. We like for the music to speak and tell its story as well.
“In Duplicity, we distorted a clown’s laugh and tucked it under a suspenseful moment — it’s subliminal, but it added an eerie undercurrent.
“In Beauty in Black, we used clock ticks, camera shutters and breath sounds layered with 808s to add personality and movement. And sometimes we’ve used my (JimiJame$) vocals to create ambiance and emotion. We created a harmonic atmosphere that had a distinct and alluring vibe.”
Do you see any trends or changes coming in the year ahead?
“We think the industry - both in music and in film/TV - is shifting toward deeper, more intentional creative partnerships. It’s less about ticking boxes and more about building something that leaves a mark. Composers are becoming part of a project’s cultural identity from the start, defining tone, character and emotional impact across mediums like TV, film, gaming and live experiences.
“Our background as artists, producers and composers gives us a unique edge. We’re not just score-makers — we’re builders of worlds. That versatility makes us strong collaborators, especially on high-level productions that require agility, speed and vision. We’re selective about the projects we take on, and we show up with intention, always looking for ways to elevate the story through sound.
“Tyler Perry has been a huge influence — not just in the opportunities he’s created, but in the way he’s built his own system on his own terms. He’s shown that you can operate outside the traditional gatekeeping structures and still lead with excellence, integrity and impact. That’s something we aspire to: creating a body of work and a creative infrastructure that’s both uncompromising and inclusive.
“We’re also inspired by other visionary creators — Barry Jenkins, Donald Glover, Hiro Murai, Greta Gerwig, Boots Riley — artists who build immersive worlds and aren’t afraid to take sonic risks. We want our music to live within the story, not just alongside it.”