What can’t RZA do? The legendary producer and artist tackles classical music

As a music producer and artist who has worked with legends like Wu-Tang Clan and created groundbreaking projects like “A Ballet Through Mud”, I can confidently say that my journey has been nothing short of extraordinary. The opportunity to collaborate with the Imagination Artist Series, aimed at getting more young people interested in orchestral music, is particularly close to my heart.

For over 3 decades, RZA – the leader of Wu-Tang Clan – has been creating hip-hop beats by cutting up samples on a drum machine, drawing inspiration from an eclectic mix of musical styles and sources. This includes soul music from the 1970s, orchestral tracks, and even kung-fu movies.

however, it was only when the renowned musician and producer decided to create his inaugural classical album titled “A Ballet Through Mud” (released in August) that he realized he had always been a composer; his path simply varied from the norm.

According to RZA, he’s been creating music all through his life, even if he didn’t realize it at first. Notably, he’s responsible for the soundtracks in films like “Kill Bill” and “Ghost Dog: The Way of the Samurai.

Amidst the unprecedented pandemic, I stumbled upon an old notebook brimming with verses from my younger days. This discovery sparked a whimsical, 11-track opus within me, titled “Notes from the Underground.” The narrative follows six characters, each symbolically named after Greek musical scales, as they journey through the intricacies of existence, friendship, and self-discovery.

On Monday, RZA is set to debut his show in Los Angeles for the very first time. The fully booked event at the Los Angeles Theater, jointly organized with Platoon, 36 Chambers, and Classical California KUSC, will be led by Oliver Zeffman and feature performances from USC Thornton School of Music students and alumni, as well as a ballet display by Sorzano Dance Works. Additionally, the event will utilize L-ISA, an advanced sound system that offers a high-quality, immersive audio experience.

In a recent conversation, we spoke with RZA about the upcoming event, the impact of his Buddhism on the album, and how creating it boosted his self-assurance as an artist. [For the sake of brevity and clarity, this interview has been slightly revised.]

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The project originated at the onset of the pandemic, as I stumbled upon an aged notebook containing verses I penned during my teenage years. Can you tell me where exactly this notebook was hidden and what emotions arose when you revisited those words from the past?

In a vintage Tommy Hilfiger duffel bag, I found an assortment of books, Wu-Tang Clan lyrics, and other memorabilia that I’d stored years ago during my move from the East Coast to the West Coast. As I flipped through the notebook recently, it evoked memories of my childhood, particularly my high school English teacher, Mr. Joe Sicilian, who saw potential in me. I was on the honor roll, part of the honors class for writing, and even wrote for the school newspaper under his guidance. He always encouraged me to write daily in a journal, but instead, I filled it with lyrics. In most of my classes, I finished early and started composing songs, even during skipped classes or while on the Staten Island ferry. This book has hundreds of pages, filled mostly with my thoughts and lyrics over time, making it something like a diary in narrative form.

At some point, you discarded the song lyrics and opted to create your inaugural classical album. Can you recall the pivotal instance that led you to choose this path over another?

In that role, my spouse had significant impact on me since she observed my transformation from RZA to Bobby Steelz to Bobby Digital. With so many variations of lyrical expressions and songs, I believe that as I repeated the lyrics following the music’s creation, it unintentionally distracted from the music, making listeners think something instead of allowing them to contemplate. She, in fact, highlighted this issue. We even recorded the lyrics for some of these songs. One epiphany moment occurred during a road trip when my wife suggested a movie idea based on the tracks, which was unusual for her. As I listened, a whole movie played out in her mind, and I realized she was right. The music should be allowed to stand alone, letting listeners create their own stories within it.

Does the record contain a ballet aspect, designed by Yusha-Marie Sorzano? This question arises: What aspects of the Alvin Ailey documentary sparked the idea to incorporate this ballet piece into the performance, and how does it enhance the overall impact of the album?

Observing him as he endeavored to convey stories through dance and express the Black experience in an innovative way. He also aimed to escape the constraints of tradition and encourage more unconventional forms of expression, which was not evident to me as a child. Naturally, residing in New York, his name was always present, but I never took interest in that field. However, as my artistic abilities developed, I encountered a documentary about him, which allowed me to recognize the profound storytelling potential within music rhythm and harmony, as well as body movement. He excelled in this area, leaving behind a legacy of such expression. Upon viewing this, I was left feeling inspired and enlightened, as if that’s the binding force between my words and music. This experience enabled me to maintain the lyrical aspect of my story while incorporating music and now body movement as additional means of communication. When you witness this ballet, you will see dancers portraying a specific narrative, but there is still ample room for personal interpretation.

Could we discuss the album’s title that symbolizes your personal journey of rising from the muck, transforming into a radiant lotus flower, and reflecting your spiritual growth. Can you share what this title means to you on a personal level?

As I delve into Buddhism, I’m proud to be a disciple of Shaolin and there’s an intriguing tale about Bodhidharma, who traveled from India to China. The narrative goes that he embarked on a long, laborious journey and arrived in a disheveled state, caked in mud – this is the crux of the story. The other monks looked down on him because of his appearance, but he responded by referring to the lotus as a symbol of Buddha. They questioned his actions, saying that a monk should not be dirty, and he replied, “But the lotus blooms from the mud.” This awakened them to the idea that even though something may originate from unpleasant circumstances, it can still blossom into something beautiful. It’s similar to the saying, “From the humble beginnings of Shaolin, Wu-Tang Clan rises again.” [Laughs] Essentially, it means that even if you come from difficult or undesirable situations, the potential for growth and transformation is always there.

Allow me to clarify one aspect: The historical figure I’m referring to, Bodhidharma, is significant because Bodhi signifies enlightenment, while Dharma represents righteousness or the path of morality. It’s possible to be righteous but not enlightened. Enlightenment, however, implies a deliberate, conscious effort towards righteousness; it differs from being righteous by nature, through societal influence, or due to upbringing. This is what Bodhidharma introduced to the world and to Shaolin, leading to the temple’s prosperity after his arrival.

How has the process of evaluating martial arts movies impacted the traditional manner in which you compose music?

I think that’s the foundation. I think working as a film composer gave me the key knowledge and foundation to do this. Even the team that I assembled around me, some of my orchestrators that helped flush out the ideas. You could play on a MIDI, but that doesn’t mean that the human player is going to be able to play that or understand how to play it because it still has to be written. Is it a mezzo forte? All these different words and ideas that are used to tell the player how to play it — that’s a whole ’nother chamber. But having a team around me from doing my movies and doing my TV show, it made my foundation so strong because I knew the language. I could talk to them. I could understand another way of doing it. I could also accept another way of doing it. That knowledge came from being a film composer and also so many colleagues in the film world, who I’ve had a chance to break bread with. And obviously Leonard Bernstein — I studied his work when I first came to Hollywood — and Henry Mancini. Those were the guys that I geeked out on early.

The ‘Ballet Through Mud’ has garnered a multitude of praise online, and it’s no secret that you’ve been blending classical music with Wu-Tang beats for quite some time. This album marked a significant milestone for you, but I’m intrigued to know if there was any apprehension about unveiling your debut classical work to the global audience?

Luckily, my intentions behind my actions were sincere, so neither praise nor criticism affected me. Whether it was fans or peers, their opinions didn’t push me forward nor hold me back. One day I found myself with Nas and Lin-Manuel Miranda. Miranda played some music from “The Warriors” album, which is distinctive and fantastic. As we waited, I felt compelled to share something too, so I played the track “Divine Intervention” from my own album. Their reaction was amazing – they said, “Wow, man. Impressive!” They appreciated the music, creating a new atmosphere in the room.

One day, I spent time with Logic, exchanging hip-hop beats, and I played him a demo of “Clear Sky After the Storm.” He paused, suggesting that others might use it to create their own songs. Later, at the Wu show in Las Vegas, DJ Scratch approached me and said he had already remixed three of my tracks. I responded with, “Go ahead and enjoy yourself.

In this project, you collaborated with the “Imagination Artist Series” that encourages youth engagement with the orchestra. Can you share why this goal resonates with you personally and what advantages do you believe there are in learning to play a musical instrument?

Without a doubt, it’s been observed that success can occur without certain knowledge, but the struggle to comprehend and interpret is significantly reduced if one possesses that specific knowledge. For instance, consider you use an A minor sample from Roy Ayers that you adore, and now you need to add a bassline. While you might find it by ear, having prior sonic understanding and knowledge would expedite the process and offer more opportunities for innovation. Therefore, knowledge is indeed the key. Hip-hop’s development stemmed from necessity, as schools removed music programs, prompting us to acquire drum machines or turntables instead of traditional instruments like trumpets, violins, or guitars. With today’s technology, we can now blend digital and analog instruments to enhance our skills and character. This is a sentiment echoed by Dr. Dre and Snoop Dogg in their recent interview – they yearn for the current generation of hip-hop producers and performers to be versatile instrumentalists, enabling us to create unique expressions that aren’t confined to replicating the past. As James Brown demonstrated with funk, we can construct something entirely new.

Let me reminisce about last year’s event. You asked me to perform “A Ballet Through Mud” twice in Denver, correct? Could you join me in revisiting that special occasion? What was the atmosphere like at the time and how did I feel when it concluded?

Initially, performing for the first time was quite daunting because I wasn’t sure how the audience would react to my art. However, their positive response, complete with standing ovations, made me feel immensely relieved, like a heavy weight had been lifted off my shoulders, knowing that my creation resonated with people. By the second night, everyone was already feeling energized and confident. In summary, it was nerve-wracking at first, but the warm reception made it all worthwhile.

Why did you want to bring the show to L.A. and do you have plans to hit more cities?

I’m excited for this performance to travel to multiple cities, including Los Angeles and New York. However, performing in L.A. is particularly appealing because of its status as a hub city, and the same goes for New York. My team and I have discussed holding it in Atlanta, New York, and Philadelphia, but given the opportunity to stage it in L.A. this year, it’s like we all exclaimed, “Let’s do it! Let’s go!

For many people, the fact that the Los Angeles exhibition is free could be a significant advantage, especially given today’s economic climate. Can you explain why this aspect was particularly meaningful to you?

This entire endeavor is truly a blessing in every sense. Once I tasted triumph, I continued to pursue more success. While creating art, music, and films primarily serves an economic purpose, this project is fundamentally a gift from start to finish. It’s just another instance where the joy, essence, feelings, introspection, and reflections embedded within the music are offered for people to appreciate. Therefore, it’s a gift that I am content to share with others.

What do you hope that people take away from the live show?

I’m hoping that they can take away from our efforts a memorable experience, a spark of creativity, and perhaps even inspire someone to compose their own ballet.

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2024-11-04 02:32