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Sun Ra Arkestra's Knoel Scott On New Album 'Swirling,' Sun Ra's Legacy & Music As A Healing Force

Sun Ra Arkestra

Photo by Alexis Maryon

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Sun Ra Arkestra's Knoel Scott On New Album 'Swirling,' Sun Ra's Legacy & Music As A Healing Force

The Sun Ra Arkestra saxophonist discusses the evolution and enduring sound of Sun Ra’s music, and why younger generations are more receptive to his more far-out experiments

GRAMMYs/Oct 9, 2020 - 09:32 pm

Sun Ra's music transcends genre and generation, time and space. The Alabama-born jazz legend, musical chameleon and Afrofuturist icon—who would have turned 106 in May—began performing in the swing and big band era and kept up a career for five decades, traveling the spaceways through cosmic ambient jazz, intense bursts of free jazz in the ‘60s, disco in the ‘70s and ‘80s, and various genre-agnostic experiments in the spaces in between. Sun Ra’s music was as boundless as the interstellar universe he considered himself a part of, and his sonic innovations continue to echo throughout music nearly three decades after his death.

His band, the Sun Ra Arkestra, is a significant element in keeping that music alive. They’ve continued to tour as an ensemble since the ‘90s, and on Oct. 30, will release their first new album in over two decades, Swirling. It’s as much a tribute to the legacy of Sun Ra as it is a continuation of the ideas and sounds he pioneered in his lifetime, featuring modern reinterpretations of classic Sun Ra compositions such as "Rocket No. 9" and "Angels and Demons at Play," as well as lesser-known tracks, and even the first recording of "Darkness," composed by Arkestra bandleader Marshall Allen. Though the arrival of Swirling comes during a time of fear and uncertainty, with no live music on the horizon for the foreseeable future, longtime Arkestra saxophonist Knoel Scott says that it’s even more important for them to be giving joyful, celebratory music back to the world.

"Music is a healing force," he says. "Our intention was for the music to be healing. For something to give happiness. When people live for a long time, and they’re asked what’s responsible for that, they say they laughed. So mirth and enjoyment and contentment, those things come from music."

GRAMMY.com caught up with Scott to discuss the new permutations of Sun Ra’s music on Swirling, finding hope in troubled times, and traveling in your mind through music.

So, Swirling is the first new recording from the Sun Ra Arkestra in over 20 years…

The first successful attempt. We tried once or twice, but the conditions weren’t conducive.

Right. Is it a matter of logistics—having everyone be able to contribute at the same time?

Yeah, the crucial part of the band’s ritual is rehearsal. And there are some logistical difficulties. Being in New York, professional musicians, they have to work, and that work is primary, so they don’t always have time to come out. But Swirling was recorded off of a tour, so the band was pretty hot at the time. A lot of the compositions were played off of our book that we were playing off the last tour that we did. We were playing "Darkness" a lot. "Seductive Fantasy," we were playing that a lot. All the songs were part of the regular band book. That book, which Marshall arranged, I guess we were playing it for around a year. Every nine months we change it. We keep certain standards, but to keep everyone interested and keep it fresh, we bring new songs in.

Aside from most of them being part of the Arkestra's last tour, is there something that connects all of these songs?

I guess the intent. Everybody wanted to play the music well and represent Sun Ra well, and give homage to Sonny and create a product that Sonny would be proud of. So, that unified us.

Sun Ra had such a long and prolific career, and this album pulls from various moments throughout that career. Was there an effort to try to represent as broad a selection of his music as possible?

Well, his music was so varied. He played so many different styles, from R&B to so-called Afrobeat to futuristic sounds to swing to avant garde. So yes, we tried to do a variety which reflected the pantheon that Sun Ra created. So therefore, there is a lot of variety on the album. That’s how Sun Ra was, he had so much variety. We never knew what he was going to do, but all of it was within the African-American tradition.

Are the Arkestra's compositions all, in some way, living and evolving creations?

Yes. The nature of music is you never play it the same way twice. Something is always different. Something is always added. A new nuance created every time we play a composition. It gave us a chance to focus a little more, because the gigs are a show. The focus, to a degree, is on entertainment and presentation. But in the studio, the concentration is all on putting the visual into the music, while in a live show, the visual is there as an accent. But on the recording that all has to be in the music. So we’re trying to create a visual in the listener’s mind.

Likewise, are you always continuing to evolve as musicians?

We have to. Sun Ra says the world’s moving fast, you have to adjust yourself. And Marshall says, "It’s the spirit of the day." Tomorrow you feel a little bit different than you did today. Your interpretation of the music is going to be a little different. So it becomes a living entity, because we put our spirit into it, and it changes from day to day and moment to moment.

Sun Ra's music spans many decades and generations, and this too will likely introduce his and your music to a new generation. What is it that makes his music endure?

The fact that it was from the future. That’s why his sounds are more accessible to the audience's ear now. But in the ‘50s and ’60s, it was radical. They would just be like, "What is he doing?" He was always talking about the future and the new millennium. But the future is now, and so the time for the music is now. He designed it that way, so the millennial generation is able to relate to it, because he wrote the music for them. The music for tomorrow’s world. People have changed. People’s ears have developed. The computer age has come, and electronics are a standard part of their listening, and Sun Ra pioneered these things, so just in terms of what people listen to now, this music that people call new age and Afrobeat, techno, all these things are devices Sun Ra used in his music in the ’60s and ’70s. As soon as a new sound came out, Sun Ra was on top of it. So now, people are used to these things. Going back to Star Trek, you hear the sounds that Sun Ra was playing in the ‘60s. Those sounds are now part of the standard media presentation of music.

It’s funny you mention that—I was watching some early episodes of Star Trek and a lot of the music reminded me of Sun Ra.

Yeah. [Laughs.] The theme song is a variation on a standard called "Out of Nowhere." But especially from Slugs’ [Saloon in Manhattan], that was the type of place that the hip people went, and Sun Ra was an underground figure for years. But he was also in California for years, and there’s been a cross pollination of Sun Ra’s music into Hollywood and TV, et cetera.

It’s an odd time to be releasing music right now. How do you feel about putting something out right now, especially something based so heavily on the Arkestra’s live performances, without being able to be onstage to play them?

That’s very important, because people are hungry for music. They’re not able to go out, so they’re on YouTube and Spotify, they’re listening to records. We stay at home, so music is a very important thing. I think it’s really perfect for the album to come out when people are spending more time at home and are looking for some kind of sound that will inspire them or give them hope or some kind of relief from this terrible time that we’re going through, because it’s stressful for everyone. You can’t go out, but you can put on an album and travel in your mind.

Is there a message or a feeling that you would hope listeners take away from hearing Swirling?

That there’s hope. No matter how bleak or troublesome or turbulent the times are, as long as people have love in their hearts, if they want a better world, there can be a better world. And the unification of the musicians from different areas of the United states and as far as Brazil, we all have different perspectives but come together of one accord, so the Arkestra’s contribution is a testimony that we can come of one accord. We may not always agree, but we can come together for a positive outlook and a positive goal. And that comes down to intent, for people with love in their hearts and joy in their spirits and enlightenment in their minds. Our job is to heal the planet.

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Rotimi On Performing At ESSENCE Fest, Growing Up African-American & More

Rotimi

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Rotimi On Performing At ESSENCE Fest, Growing Up African-American & More

The Nigerian-American singer and actor sat down with the Recording Academy to talk about what inspired his latest album, 'Walk With Me'

GRAMMYs/Jul 8, 2019 - 10:04 pm

In 2015, Rotimi stepped into the New Orleans Superdome for the first time to experience the magic of ESSENCE Fest. Four years later, in 2019, the "Love Riddim" singer returned to the celebration as a performer, something he said was spoken into existence.

"Last year me and my manager had a conversation and I said, 'Listen, I'm going to be on the [ESSENCE] mainstage this year. 365 days later, we did it," Rotimi told the Recording Academy at the 25th annual ESSENCE Fest.

Rotimi, also an actor on Starz' "Power," has evolved since his last album, 2017's Jeep Music, Vol.1. The singer said he really hit home with its follow-up, the recently released Walk With Me, a project he worked hard for, putting in hours in the studio after filming on set.

"Walk With Me is the first time I actually felt like I was giving myself as an artist, and personally I feel like with everything else I have going on I wanted to show people that this is really what I do," he said. "I wanted people to understand who Rotimi is, who Rotimi was before, who I want to be and just understand my growth and the journey and my passion for what I do."

Part of why the album felt like such a representation of him is because it embodies beats of his African roots, something he said was very present growing up Nigerian-American. 

"I grew up with a lot of Fela Kuti and I grew up with Bob Marley," he said of his musical roots. "But I also grew up with Carl Thomas and Genuine and Usher, so there was a genuine mixture of who I am and what I've grown up to listen to. The actual Walk With Me project was a mixture of influences of Akon and Craig David."

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Quarantine Diaries: Joan As Police Woman Is Bike Riding, Book Reading & Strumming D'Angelo

Joan as Police Woman

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Quarantine Diaries: Joan As Police Woman Is Bike Riding, Book Reading & Strumming D'Angelo

As the coronavirus/COVID-19 pandemic continues to rock the music industry, the Recording Academy reached out to a few musicians to see how they were spending their days indoors

GRAMMYs/Apr 7, 2020 - 07:21 pm

As the coronavirus/COVID-19 pandemic continues to rock the music industry, the Recording Academy reached out to a few musicians to see how they were spending their days indoors. Today, singer/songwriter Joan Wasser of Joan as Police Woman, whose forthcoming covers album, COVER TWO, includes tracks by The Strokes, Prince, Talk Talk, and more, shares her Quarantine Diary.

Thursday, April 2

[10 a.m.-12 p.m.] Went to bed at 4 a.m. last night after getting drawn into working on a song. Put on the kettle to make hot coffee while enjoying an iced coffee I made the day before. Double coffee is my jam. Read the news, which does not do much for my mood. Catch up with a few friends, which does a lot of good for my mood. Glad it goes in this order.

[12 p.m.-2 p.m.] Make steel cut oats with blueberries, raspberries, strawberries, fresh ginger, fresh turmeric, a sprinkling of cinnamon and cardamom, and of course, coconut butter to melt on top. If you’re not into coconut butter (sometimes marketed as coconut "manna"), I’d suggest just going for it and getting it (or ordering it) and putting it on your sweet potatoes, your oats, anywhere you’d put butter. I’m not vegan but I do enjoy hearing the tiny scream uttered by a strawberry as I cut into it. 

Contemplate some yoga. Contamplate meditating. Do neither. Resume work on the song I want to finish and send today. I have a home studio and I spend a lot of my time working on music here. The song is a collboration sent to me from Rodrigo D’Erasmo in Milano that will benefit the folks who work behind the scenes in the music touring system in Italy. 

[2 p.m.-4 p.m.] I traded in a guitar for a baritone guitar right before all this craziness hit but hadn’t had the time to get it out until now. I put on some D’Angelo, plugged into my amp and played along as if I were in his band. Micahel Archer, If you’re reading this, I hope you are safe and sound and thank you immensely for all the music you've given us always. 

[4 p.m.-6 p.m.] Bike repair shops have been deemed "necessary," thank goodness, because biking is the primary way I get around and I need a small repair. I hit up my neighborhood shop and they get my bike in and out in 10 minutes, enough time to feel the sun for a moment. 

I ride fast and hard down to the water's edge and take in a view of the East River from Brooklyn. There are a few people out getting their de-stress walks but it is mostly deserted on the usually packed streets.

[6 p.m.-8 p.m.] Practice Bach piano invention no. 4 in Dm very, very, very slowly. I never studied piano but I’m trying to hone some skills. Realize I’m ravenous. Eat chicken stew with wild mushrooms I made in the slow cooker yesterday. It’s always better the second day.

[8 p.m.-10 p.m.] Get on a zoom chat with a bunch of women friends on both coasts. We basically shoot the sh*t and make each other laugh. 

Afterwards I still feel like I ate a school bus so I give into yoga. I feel great afterwards. This photo proves I have a foot. 

[10 p.m.-12 a.m.] Record a podcast for Stereo Embers in anticipation of my new release on May 1, a second record of covers, inventively named COVER TWO. Continue to work on music (it’s a theme).

[12 a.m.-2 p.m.] Tell myself I should think about bed. Ignore myself and confinue to work on music. 

[2 a.m.-4 a.m.] Force myself into bed where I have many books to choose from. This is what I’m reading presently, depending on my mood. Finally I listen to Nick Hakim’s new song, "Qadir," and am taken by its beauty and grace. Good night. 

If you wish to support our efforts to assist music professionals in need, learn more about the Recording Academy's and MusiCares COVID-19 Relief Fund.

If you are a member of the music industry in need of assistance, visit the MusiCares website

Report: Music & Culture Infrastructure Can Create Better "Future Cities"

Hero The Band perform at the Recording Academy Atlanta Chapter Annual Membership Celebration
Photo: Marcus Ingram/WireImage

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Report: Music & Culture Infrastructure Can Create Better "Future Cities"

How sound planning for a creative future in our urban areas makes all the difference for artists and musicians

GRAMMYs/Oct 24, 2019 - 01:27 am

The future, as they say, is now. And for music makers around the world, building a future for themselves often starts at home, in their local creative community and in the city where they live. While technology has expanded communication and made the world smaller, cities continue to grow, making planning for the future a critical cultural mission of the present.

To that end, a new report by global organization Sound Diplomacy titled "This Must Be The Place" examines, "The role of music and cultural infrastructure in creating better future cities for all of us." The 37-page deep dive into community planning and development highlights the importance of creative culture in what it calls "Future Cities."

"The government defines ‘Future Cities’ as 'a term used to imagine what cities themselves will be like," the report states, "how they will operate, what systems will orchestrate them and how they will relate to their stakeholders (citizens, governments, businesses, investors, and others),'"

According to the report, only three global cities or states currently have cultural infrastructure plans: London, Amsterdam and New South Wales. This fact may be surprising considering how city planning and sustainability have become part of the discussion on development of urban areas, where the UN estimates 68 percent of people will live by 2050.

"Our future places must look at music and culture ecologically. Much like the way a building is an ecosystem, so is a community of creators, makers, consumers and disseminators," the report says. "The manner in which we understand how to maintain a building is not translated to protecting, preserving and promoting music and culture in communities."

The comparison and interaction between the intangibility of culture and the presence of physical space is an ongoing theme throughout the report. For instance, one section of the report outlines how buildings can and should be designed to fit the cultural needs of the neighborhoods they populate, as too often, use of a commercial space is considered during the leasing process, not the construction process, leading to costly renovations.

"All future cities are creative cities. All future cities are music cities."

On the residential side, as cities grow denser, the need increases for thoughtful acoustic design and sufficient sound isolation. Future cities can and should be places where people congregate

"If we don’t design and build our future cities to facilitate and welcome music and experience, we lose what makes them worth living in."

For musicians and artists of all mediums, the answer to making—and keeping—their cities worth living in boils down to considering their needs, impact and value more carefully and sooner in the planning process.

"The report argues that property is no longer an asset business, but one built on facilitating platforms for congregation, community and cohesion," it says. "By using music and culture at the beginning of the development process and incorporating it across the value chain from bid to design, meanwhile to construction, activation to commercialisation, this thinking and practice will result in better places."

The report offers examples of how planners and leaders are handling this from around the world. For instance, the Mayor Of London Night Czar, who helps ensure safety and nighttime infrastructure for venues toward the Mayor's Vision for London as a 24-hour city. Stateside, Pittsburgh, Penn., also has a Night Mayor in place to support and inform the growth of its creative class.

Diversity, inclusion, health and well-being also factor into the reports comprehensive look at how music and culture are every bit as important as conventional business, ergonomic and environmental considerations in Future Cites. Using the Queensland Chamber of Arts and Culture as a reference, it declared, "A Chamber of Culture is as important as a Chamber of Commerce."

In the end, the report serves as a beacon of light for governments, organizations, businesses and individuals involved in planning and developing future cities. Its core principals lay out guideposts for building friendly places to music and culture and are backed with case studies and recommendations. But perhaps the key to this progress is in changing how we approach the use of space itself, as the answer to supporting music may be found in how we look at the spaces we inhabit.

"To develop better cities, towns and places, we must alter the way we think about development, and place music and culture alongside design, viability, construction and customer experience," it says. "Buildings must be treated as platforms, not assets. We must explore mixed‑use within mixed‑use, so a floor of a building, or a lesser‑value ground floor unit can have multiple solutions for multiple communities."

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Nearly 30 Years After Their Debut, Body Count's 'Carnivore' Is The Thrash-Metal Band's Most Fully Realized Album

Ice-T In 1993

Photo by David Corio/Redferns

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Nearly 30 Years After Their Debut, Body Count's 'Carnivore' Is The Thrash-Metal Band's Most Fully Realized Album

Led by iconic rapper Ice-T, the L.A.-based seven-piece keep their socially conscious themes consistent and the music louder than ever on their seventh studio album

GRAMMYs/Mar 10, 2020 - 10:06 pm

In early 1992 Ernie Cunnigan visited the Burbank office of Howie Klein. The guitarist (who goes by Ernie C.) and the then-president of Reprise/Warner Bros. Records were listening to the upcoming self-titled debut from Cunnigan’s band, Body Count, fronted by his Crenshaw High School buddy Tracy Marrow, already famous as rapper Ice-T. Ice, with the savvy creative connectivity that guides his multi-hyphenate media career to this day, introduced his forthcoming metal band in 1991 via tracks on O.G. Original Gangster, his fourth album.

It's not unusual for high school pals to form a band. What was unusual, though, was that Body Count was a hardcore thrash metal band comprised of all-black musicians, with point-blank lyrics that were both insightful and incite-ful concerning racial and social inequities and the climate of America. Listening to the 18-track debut, Klein praised it, while voicing concern about the lyrics of "Momma's Gotta Die Tonight," a song about the matricide and dismemberment of a racist parent. Turns out it was the last track, a ditty called "Cop Killer," that should have given the executive pause. 

While Klein was and remains stridently opposed to censorship and is a dedicated free speech advocate, Body Count, per the era, was released with a parental advisory sticker (as was Original Gangster). Less than two months after Body Count dropped, Los Angeles exploded in fiery violence in reaction to the acquittal of four policemen in the beating of Rodney King, as well as the shooting death of black teenager Latasha Harlins by a Korean grocer. (The grocer was given only probation.) It was the worst possible climate for "Cop Killer," with lyrics including "Fk the police, yeah!" and shout-outs to then L.A.P.D. chief Daryl Gates, Ice's "dead homies" and King. The blowback went all the way up to then-President George Bush, and though Time Warner supported Ice-T in his fight against the song's opponents, he eventually pulled the cut from new pressings of the album.

Currently, streaming services including Spotify and Apple Music offer the version sans the group's most (in)famous song, replacing "Cop Killer" with "Freedom Of Speech" from Ice's 1989 solo album, The Iceberg/Freedom of Speech...Just Watch What You Say, edited to add samples of Jimi Hendrix's "Foxy Lady" and the voice of political punker Jello Biafra. On YouTube, "Cop Killer" has more than 1.5 million views, with most of the comments thoughtful and positive, understanding the intentionally incendiary messages Body Count was delivering. Ultimately, if Body Count isn’t a classic record in the way that critics consider Nirvana’s Nevermind or Public Enemy's It Takes A Nation Of Millions To Hold Us Back to be, it’s an important and groundbreaking one. As Ice-T has said, Body Count is: "a protest record,” not the norm in the metal world, but still the way BC's songs operate today.

Indeed, 28 years later, things haven’t changed. Biafra is also on Body Count's powerful new album, Carnivore. Police actions like "stop and frisk" (the NYC law enforcement program that was proven to disproportionally target black and Latino men) wasn’t legally discredited until 2014. Body Count’s one-time bassist, Lloyd "Mooseman" Roberts III, was murdered in South Central Los Angeles in 2001 in an accidental drive-by; in the last 12 months, 126 black men were killed by guns in L.A. County, as opposed to 23 white men. And Ice-T and Body Count are still raging against the machine.

Ice-T enjoys pushing buttons lyrically, and if they’ve sometimes been heavy-handed or misguided ("KKK Bitch" or "Bitch In The Pit"), Ice-T is a politically eloquent, passionate and personal songwriter, which can be too easily overlooked given Body Count's volume-heavy metal chops and Ice's delivery, a speedy vocal style that’s been traditionally more aggro-rapping than melodic singing.  

That said, Carnivore is Body Count’s best album to date; it’s the most fully realized musically, and there’s a cohesion to the vocals and music that led Body Count bassist Vincent Price to lay out the band’s growth in a Metallica timeline: "Manslaughter [2014] was basically Kill ‘Em All; Bloodlust [2017] was our Ride The Lightningand Carnivore’s our Master Of Puppets."

He's not wrong, and though Ice-T’s more than 20-year stint as detective Odafin "Fin" Tutuola on Law and Order: Special Victims Unit has precluded lengthy Body Count tours, the buzz is loud for this seventh album.

Ice-T may be the original gangster, yet he’s patient, articulate and fervent in explaining songs and motivations to audiences and the press alike. "When I'm Gone," featuring Amy Lee of Evanescence, was inspired by the killing of Nipsey Hussle. It’s a reminder, as he says in the tune, to "tell the people that you love, that you love them now. … Don't wait; tomorrow may be too fking late."

His prolific musical social criticism and seemingly left-leaning views are thoughtful and targeted, despite the vitriol of so many Body Count songs. In the nearly 30 years since founding his revolutionary band, Ice-T observes, "I think you’ve got less racism; less people, but more avid racism. It’s unnerving to think that we’ve come so far but there’s still so far to go." As he advised in a 2017 interview, "Don’t just be angry. Know what you’re talking about so you don’t alienate someone who should be an ally."