“We Belong In Classical Music:” Orchestra Noir Brings Black Excellence To Atlanta
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It’s a nippy autumn afternoon in Atlanta. Maestro Jason Ikeem Rodgers is pacing about the semi-desolate Atlanta Symphony Hall, grinning warmly and nodding to his bandmates as they unpack their instruments. Polishing. Tuning. More polishing. He takes a seat in one of the scarlet-colored chairs in the hall’s belly, digesting the pre-show atmosphere—the calm before the storm.
Rodgers is relaxed, donning a black Champion sweatsuit, black shades, and a matching black Atlanta Braves 2021 World Series baseball hat — a conspicuous nod to Hip-Hop’s current mecca. The 40-year-old conductor initiates the conversation and somehow, becomes even more personable and inviting. But don’t get his cheery demeanor confused — this man is on a mission. And the inaugural Red Bull Symphonic, which made its stateside debut on Friday (Nov. 4), was the perfect stage for Rodgers to share his artistic statement.
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“People need to see us on stage with more violins and cellos in our hands,” the multitalented musician said during rehearsals. “That’s going to show a different type of respect for the culture and Black excellence.”
Black folks’ contributions to the classical arts have long been undermined and undervalued. The League of American Orchestra (LOA), an organization representing professional and amateur symphony orchestras around the United States, published a study in 2016 on diversity. Titled “Racial/Ethnic and Gender Diversity in the Orchestra Field,” the study indicated that only about 1.8% of orchestra musicians around America identified as Black.
The report also noted that these numbers have “hardly moved in the last 25 years,” indicating that the field of classical music is still predominantly white. Rodgers is hopeful that Orchestra Noir can positively affect this statistic.
“My dream was to build an all-Black orchestra. To be able to do classical music, but also to do music from our culture and celebrate it in a big way and show our people that we belong in classical music,” the North Philly-bred Maestro confidently expressed. “So, when Red Bull approached me about doing this, I said, ‘We were born to do this.’ And what a crowning moment to have Rick Ross, orchestrating his music. This moment. This is our purpose.”
It’s a moment he’s been building towards since his youth, which eventually led to a bachelor’s degree in Piano from the University of North Carolina and two master’s degrees in Orchestra Conduction from the Cleveland Institute of Music.
Rodgers was blessed with teachers and mentors that helped foster his love for classical music at a young age. A love that would later whisk Orchestra Noir onto some of the biggest stages in the nation, including the Tonight Show Starring Jimmy Fallon. His troupe was also crowned the ‘Best of Atlanta: Classical Meets Contemporary’ by Atlanta Magazine in 2018.
“I had a love for classical music since middle school. Which is, it’s kind of rare. [Especially] when you grow up in the projects like me. I had a great middle school music teacher, man. And she would play Mozart and Beethoven, and I would listen. I would just be in awe,” he recalls. “So I begged her to give me piano lessons, and I started learning classical piano. I’ve been learning classical piano since I was ten years old.”
The lessons stuck with him as he prepared for the Red Bull Symphonic, tirelessly composing music for every instrument — piano, violin, cello. He emphasized the mark of a dedicated conductor: knowing how every instrument worked and played. For the night’s music creation, he split the work with his assistant music director, Larry J. Smith. As Rodgers described it, the process was “an arduous one” but also full of light and Black joy.
While Larry was tasked with focusing on the woodwinds, brass, keys, and drums, Jason had the objective of covering everything else. The creative duo ultimately came up with two starkly different pieces of music that came together to establish the foundation for triumphant numbers throughout the historical event.
Outfits were regal and attitudes were royal on this crisp November night. Wafts of Drakkar and YSL Black Opium (two unspoken but universally-agreed-upon scents of unfiltered Blackness) permeated throughout the symphony hall. Bopping, swaying, two-stepping and mean-mugging all occurred while guests jammed to Orchestra Noir’s first piece of the night: a traditional symphony overture written specifically for the evening. Rodgers was joined on stage by openers Mapy and the Sainted Trap Choir and the night officially began.
Dubbed “The Violin Queen,” Mapy was backed by Orchestra Noir through an array of pop bangers, including Rihanna’s “Rude Boy,” Beyoncé’s “Crazy in Love, and Sister Nancy’s “Bam Bam.” As she serenaded the crowd, her violin’s airy and spacious notes created fresh, satiny renditions of familiar hits. Her fierce bow strokes and sibilant string plucks hypnotized the crowd into belting out every line.
Suddenly, the celebrated Sainted Trap Choir came through to rouse the crowd with a collection of energetic Hip-Hop covers, such as their take on Crime Mob’s “Knuck If You Buck,” converting the 2004 crunk anthem into a combatively sultry negro spiritual. Floating through liquifying vocals, the ensemble submerged the audience in a baptism of soul.
Ruby lights illuminated Rodgers’ return to the stage after a brief intermission. Now donning a white diamond-encrusted tailcoat, shimmery sleek black dress pants, and black shades, he stood before his orchestra in silence. Orchestra Noir’s swarthy skin illuminated against the flickering crimson rays as the evening’s headliner, Rick Ross, shuffled across the stage.
Drums banged, and strings whizzed as the rapper gruffly professed his love for the hustle on “Hustlin.” The energy in the room swelled, before Ross spread his arms into a cross formation as the piece closed. With glee, Rodgers gazed around at his orchestra and pointed at the rapper. What he’d previously referred to as his purpose, was being fulfilled in real-time.
“Having them play this music, Hip-Hop, Rick Ross — it puts Hip-Hop in a different light. But also, what we can do as a people, our talent is so diverse,” he said.
For 26 songs, the God Forgives, I Don’t emcee took fans on a luxurious musical odyssey, punctuated by the backing of the expert suited-and-booted musicians. The audience was treated to intense motivational hymns with 2006’s “The Boss” and 2010’s “B.M.F.” Ross’ stentorian voice, braggadocious lyrics and mafioso persona culminated with a unified “hallelujah” by the latter song’s end. Suddenly, a tonal shift ushered in “Stay Schemin.” Starkly, the orchestra’s piano whispered the melody of Ross’ 2012 hit, inciting a moment of contemplation. The lights fell, and a single spotlight hugged the Miami artist as he took a moment to pay respects to Migos rapper Takeoff, who lost his life to gun violence on Nov. 1.
“As brothers and sisters, We can’t keep tearing ourselves down,” Ross, 46, emotionally pleaded on stage. “We got to initiate the change. Rest in peace, Takeoff.”
The night’s raw emotion and dedication to Black excellence ended with a captivating finale — a performance of Rick Ross’ verse from DJ Khaled’s “GOD DID.” Both Mapy and the Sainted Trap Choir returned to the stage for the song — one that rested on the foundation of Rodgers’ passion for marrying classical music with Blackness.
As the choir’s vocals ascended, textured melodies guided Rodger’s orchestra into an exultant string performance. The combination made for a silky, joyous backdrop as Ross recalled how a manifold of influences impacted his blessings.
The Maestro raised both arms as Orchestra Noir’s instruments capped off the inaugural Red Bull Symphonic in cinematic fashion. Blue lights transformed into magenta illuminations as the choir delivered a crescendo that left the room completely still. The audience roared with approval followed by a warm standing ovation that lasted nearly a full minute.
“It’s just a toast. It’s a toast to all those Hip-Hop rappers and producers. They’re making real music and music that can be transcribed over to the orchestra wonderfully,” Jason says, getting up from his scarlet-colored seat to make his way back to the stage.
“Blackness deserves a chance. Hip-Hop deserves its respect, and sometimes that gets lost because of tragedies that surround the culture [but], we are greater than that. We channel everything into our music, and classical is no different. I hope our people and white people see that after tonight. Classical music needs more Black talent and stories.”
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