My first introduction to Angel Bat Dawid came from a simple Google search: “Black woman clarinetist” when I was trying to find repertoire from underrepresented composers to program on my undergraduate senior clarinet recital a few years ago. Oftentimes, Classical music recitals consist of mostly White, Cisgendered men from Europe with the occasional woman composition featured; therefore, I was well accustomed to unsuccessful Google searches of the apparent mythical Black Woman Clarinetist. One lucky search led me to the music of Dawid, or the genre she names “Great Black Music”. Before Dawid’s ascension to performer status, her life was informed by the religious nature of her parent’s missionary work as practiced in Kenya and America. A deeper dive into Dawid’s biography and interviews led me to understand that her story as a musician seemed to originate from her early bi-continental lifestyle and familial histories just as much as it developed from playing scales in band class.