Carbon Sound caught up with critically acclaimed rapper Denzel Curry backstage before his show at the Palace Theatre in St. Paul on Saturday, September 24. Watch the full interview here.

Denzel Curry is a rapper from Carol City, Florida. He’s been active for more than a decade, and has spent that time building a reputation as a furiously skilled rapper. His latest album, 

, is a clear step in a more mature, even more focused direction. The forthcoming deluxe edition of the album will build upon the foundation set by the original version, with additional instrumentation by a 10-piece live band.

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Liam Armstrong

Julian Green built and manages the music library for Carbon Sound and oversees content creation.  


Julian Green

Watch our full interview with rapper Denzel Curry


Denzel Curry talks Anime, tour, "Melt My Eyez", and more with Carbon Sound

Denzel Curry talks Anime, tour, "Melt My Eyez" and more with Carbon Sound

In 2014, the League of American Orchestras, a service organization representing professional and amateur symphony orchestras around the United States, 

 and found that only 1.4% of orchestra musicians were Black. 

In 2022, it's hard to say if that figure has gotten better or worse, said Jennifer Arnold, a co-founder of the Black Orchestral Network. Arnold spent 15 seasons playing viola with the Oregon Symphony and now is director of artistic planning and operations for the Richmond Symphony. 

 "There's a real need to actually be transparent about what's happening in the industry, in terms of Black people," Arnold said. "We do not know how many Black people are in orchestras. And I say that as a representative of Black Orchestral Network. One of our calls is, let's start collecting data. Let's find out, have we done better than the 1.4% number that is going out there? That 1.4% is kind of based on well, "I see a Black person on that stage in that orchestra." That's not data."

In harpist Ann Hobson Pilot's experience, Black musicians in orchestras can feel isolated. She told a podcast produced by the Black Orchestral Network that when she joined the Boston Symphony Orchestra in 1969, she was its very first Black musician. 

"When I looked around the orchestra, I didn't see anyone in there that looked like me," she said. "And it was another 20 years before another Black player was hired, which is Owen Young, the wonderful cellist. And when I left 20 years later, Owen Young became the only black player in the BSO." He still is. 

 arose out of ad hoc Zoom gatherings during the pandemic and after the George Floyd and Black Lives Matter protests. But the participants decided to make it a formal organization. Alex Laing, who plays clarinet with the Phoenix Symphony, said they wanted to become "an advocacy group, a group to speak to the experience of what it is to orchestra  —  the verb  —  as a Black person and how to support that in all of the places that it's happening, not just professional ranks."

One of the first things they did was send out a call to action i

titled, "Dear American Orchestras." The website lists 60 Black orchestral musicians from around the country who signed it. "We took inspiration from what we'd seen from the theater world and the dance world," said Laing. "We  wanted to articulate a point of view and speak to our experience and then also articulate a vision for the future."

, a lobbying group and the organization that commissioned the 2014 study, said that orchestras in the United States have "traditionally been a pretty white space." 

The League has been looking at equity, diversity and inclusion in its ranks. "There is deep urgency in our field for change," Wood said. He added that the League is currently working on an update to their earlier study.

Still, change comes with challenges. For one, the "blind" audition process, meant to avoid bias by having musicians play behind screens, is integral to the creation of gender parity in orchestras, but has not lead to an increase in Black musicians. The Black Orchestral Network's Arnold said that's because who is hired depends on who is invited to audition. 

"A lot of orchestras aren't transparent about the fact that they don't have fully blind auditions," she said. In other words, plenty of those who audition are able to bypass the screen.

The other roadblock to change is a tenure system, which means that job openings are often few and far between. Shea Scruggs, an administrator at the Curtis Institute of Music who formerly played oboe with the Baltimore Symphony Orchestra, said there's no shortage of qualified Black musicians for orchestral jobs, even though many people frame the lack of representation as a problem with the pipeline

"To say we need youth music programs, or it's happening at the conservatory level; basically, to frame challenges around diversity in a way that absolves orchestras from being part of the problem" is an issue, he said.

 a pipeline. The Sphinx Organization, based in Detroit, supports young Black and Latinx musicians, the Gateways Music Festival in Rochester features musicians of color from around the country, and the Baltimore Symphony Orchestra recently appointed Jonathon Heyward, a 29-year-old conductor of color, to take over as music director in the fall of 2023. 

Mark Hanson, president and CEO of the Baltimore Symphony Orchestra said that's an excellent step, but the organization needs to better reflect its community: "Not just the orchestra itself, but the staff," he said, "the board, our donors, our partners, and ultimately our audience."

Meanwhile, the Boston Symphony Orchestra is addressing its lack of diversity by creating a Resident Fellowship program for two early career Black musicians this fall. Gail Samuel, the BSO's president and CEO, said she believes diverse voices are essential for the survival of orchestras: "We need to commit ourselves and our organizations to changing the systems, and the structures, and the policies that have excluded Black musicians for far too long." 


Black Orchestral Network co-founder Laing said he hopes the questions they've raised will lead to a real change in mindset. "Who is this space for?" Laing asked. "Who is it designed to make comfortable? And whose presence in there upsets that? So, these are the conversations that we're interested in having."


Jeff Lunden

In 2014, a study found that only 1.4% of orchestra musicians were Black. In 2022, it's hard to know if that number is better or worse.


Jessica Rinaldi/Boston Globe

Jennifer Arnold

Jared Platt

Courtesy Shea Scruggs

Where are the Black musicians in the country's largest orchestras?

LOS ANGELES — Coolio, the rapper who was among hip-hop's biggest names of the 1990s with hits including "Gangsta's Paradise" and "Fantastic Voyage," died Wednesday at age 59, his manager said.

Coolio died at the Los Angeles home of a friend, longtime manager Jarez Posey told The Associated Press. The cause was not immediately clear.

Coolio won a Grammy for best solo rap performance for "Gangsta's Paradise," the 1995 hit from the soundtrack of the Michelle Pfeiffer film "Dangerous Minds" that sampled Stevie Wonder's 1976 song "Pastime Paradise" and was played constantly on MTV.

The Grammy, and the height of his popularity, came in 1996, amid a fierce feud between the hip-hop communities of the two coasts, which would take the lives of Tupac Shakur and The Notorious B.I.G. soon after.

Coolio managed to stay mostly above the conflict.

"I'd like to claim this Grammy on behalf of the whole hip-hop nation, West Coast, East Coast, and worldwide, united we stand, divided we fall," he said from the stage as he accepted the award.

Born in Monessen, Pennsylvania south of Pittsburgh, Coolio moved to Compton, California. He spent some time as a teen in Northern California, where his mother sent him because she felt the city was too dangerous.

He said in interviews that he started rapping at 15 and knew by 18 it was what he wanted to do with his life, but would go to community college and work as a volunteer firefighter and in airport security before devoting himself full-time to the hip-hop scene.

His career took off with the 1994 release of his debut album on Tommy Boy Records, "It Takes a Thief." It's opening track, "Fantastic Voyage," would reach No. 3 on the Billboard Hot 100.

A year later, "Gangsta's Paradise" would become a No. 1 single, with its dark opening lyrics:

"As I walk through the valley of the shadow of death, I take a look at my life and realize there's not much left, 'cause I've been blastin' and laughin' so long, that even my mama thinks that my mind is gone."

Social media lit up with reactions to the unexpected death.

. "I witness first hand this man's grind to the top of the industry. Rest In Peace, @Coolio."

 "RIP Coolio" along with a picture of the two men hugging.

Coolio had said in an interview at the time it was released that he wasn't cool with Yankovic's 1996 "Gangsta's Paradise" parody, "Amish Paradise." But the two later made peace.

The rapper would never again have a song nearly as big as "Gangsta's Paradise," but had subsequent hits with 1996's "1, 2, 3, 4 (Sumpin' New)" (1996), and 1997's "C U When U Get There."

His career album sales totaled 4.8 million, with 978 million on-demand streams of his songs, according to Luminate. He would be nominated for six Grammys overall.

And with his distinctive persona he would become a cultural staple, acting occasionally, starring in a reality show about parenting called "Coolio's Rules," providing a voice for an episode of the animated show "Gravity Falls" and providing the theme music for the Nickelodeon sitcom "Kenan & Kel."

He had occasional legal troubles, including a 1998 conviction in Stuttgart, Germany, where an boutique shop owner said he punched her when she tried to stop him from taking merchandise without paying. He was sentenced to six months probation and fined $30,000.


He was married to Josefa Salinas from 1996 to 2000. They had four children together.


The Associated Press

The artist, one of hip-hop's biggest names of the 1990s with hits including "Gangsta's Paradise" and "Fantastic Voyage," died Wednesday at age 59, his manager said.


Tracey Nearmy/Getty Images

Coolio has died at 59

On September 23, 2017, the world lost acclaimed soul singer, Charles Bradley. Releasing his debut album, 

 in 2011 at the age of 62, Bradley would go on to become a beloved figure in the music world. 

Charles Bradley - two songs at The Current (2013, 2016)

Bradley visited The Current studio on three occasions: in 

. Over that time, The Current’s production manager, Derrick Stevens, 

. “I think people miss his music and they miss his realness,” Stevens 

 made one year after Bradley passed. “When Charles was on stage, you knew that’s where that man wanted to be; he wanted to be nowhere else except on that stage, singing his songs, making people have fun. He would get offstage, he would go around, he would hug people in the crowd. I mean, that was just Charles Bradley. I miss the guy like crazy.” 

Listen to The Current host Jill Riley’s hourlong celebration of "the Screaming Eagle of Soul," Charles Bradley. You'll hear Charles Bradley talk about his rise onto the music scene, as well as his newfound affection for rock music. Plus, listen for some of the exclusive live recordings captured over the years when he visited The Current studio.

Don’t miss the story, the legacy he left behind and the music of Charles Bradley.

Remembering Charles Bradley, “The Screaming Eagle of Soul,” is produced by Derrick Stevens.

come from Charles Bradley’s live sessions in The Current studio. 

Listen to The Current host Jill Riley and producer Derrick Stevens’ hourlong celebration of the life and music of the late soul singer extraordinaire, Charles Bradley. 


Remembering Charles Bradley, 'The Screaming Eagle of Soul'

Rich Fury/Getty Images for Arroyo Seco Weekend

Nate Ryan | MPR

Concurrent Space and Reload.it battled for DJ supremacy last Saturday. Check out Isaiah Stillwell’s photos of the event.


Isaiah Stillwell

SPUN OUT DJ Battle

Derrick Gichaba

Denzel Curry brought massive energy to St. Paul. Check out Derrick Gichaba’s photos of the show.


Denzel Curry, AG Club, Redveil, and PlayThatBoiZay at the Palace Theatre

Each week, we add new music, older tracks, which are known as “Gold adds”, and tracks that might not fit our general format, but still deserve a place in rotation because they serve our mission of showing the depth, breadth, and influence of Black musical expression - These are known as “Variety adds.”

We’re sharing this to get you excited to listen and to open up the floor for feedback and suggestions. If you want to request a song, 

. If you make music and want it considered for rotation, 

 If you want to give feedback directly, reach out to me at jgreen@mpr.org.

Shoutout to the Voice, Sanni B., for her great suggestions for Gold adds. This week on The Message, she's painting pictures and soundtracking a day at the museum. Science and Industry, Children's Museums, and more. Don't forget to tune in from 10 a.m. to 1 p.m. Monday through Thursday to hear her live!

 Spotify playlist. This will be updated weekly with all the new adds and will be a central hub for listeners like you to dip your toe in the pool before diving in.

“Roll With It” feat. Lazerbeak and Professor C

“Dancing In the Shadows” feat. Clementine Douglas

“I. The Worst Guys” feat. Chance the Rapper

“Still Tippin'” feat. Slim Thug & Paul Wall

“Take Me There” feat. Blackstreet, Blinky Blink & Mya

All of the tracks added to rotation on Carbon Sound the week of September 26, 2022.


Natalia Toledo

New on Carbon Sound

New Music on Carbon Sound - Week of September 26, 2022

NEW YORK — Rihanna will take center stage at February's Super Bowl halftime show.

declined to perform in the 2019 Super Bowl halftime show

 out of solidarity with Colin Kaepernick, will headline the 2023 Super Bowl, the NFL announced Sunday along with Jay-Z's Roc Nation and Apple Music. Rihanna 

 of an arm outstretched holding an NFL football.

"Rihanna is a generational talent, a woman of humble beginnings who has surpassed expectations at every turn," Shawn "Jay-Z" Carter, whose Roc Nation is an executive producer of the show, said in a statement. "A person born on the small island of Barbados who became one of the most prominent artists ever. Self-made in business and entertainment."

The Super Bowl will take place at State Farm Stadium in Glendale, Arizona, on Feb. 12. After years of Pepsi's sponsorship, the upcoming halftime show will be sponsored by Apple Music.

Rihanna earlier said she turned down a similar opportunity for the 2019 Super Bowl that was ultimately headlined by Maroon 5. At the time, many artists voiced support for Kaepernick, the former San Francisco 49ers quarterback whose 2016 national anthem protests sparked debate throughout football.

"I couldn't dare do that. For what?" Rihanna told Vogue in 2019. "Who gains from that? Not my people. I just couldn't be a sellout. I couldn't be an enabler. There's things within that organization that I do not agree with at all, and I was not about to go and be of service to them in any way," she said of the league.


With sales of more than 250 million records worldwide, Rihanna ranks as one of the best-selling female artists ever. Her last album was 2016's "Anti."


The singer, who declined to perform in 2019 out of solidarity with Colin Kaepernick, will headline February's show.


Mike Coppola/Getty Images

Rihanna will take center stage at the Super Bowl halftime show

Pharoah Sanders, the revered and influential tenor saxophonist who explored and extended the boundaries of his instrument, notably alongside John Coltrane in the 1960s, died on Saturday morning in Los Angeles. His death was announced in a post on social media by the record label Luaka Bop, which had released his celebrated 2021 album 

 and confirmed by a publicist who worked on the release. Sanders was 81 years old. 

Spirit was the overwhelming force in Sanders' music: It emanated from his tenor and soprano saxophones in fiery blasts or a murmuring flicker, and it suffused his ensembles, which featured several generations of improvisers equally willing to dig in or soar free. "Sanders has consistently had bands that could not only create a lyrical near-mystical Afro-Eastern world," wrote one champion, the poet-critic Amiri Baraka, "but [also] sweat hot fire music in continuing display of the so-called 'energy music' of the '60s."

That combination of traits characterized Sanders' defining solo work of the '70s on Impulse! Records, which had been Coltrane's label home, and was still a welcoming harbor for experimentalism. Among these albums are 

, consisting of one album-length improvisation, and 

, which nudges a post-Coltrane language into the realm of Afrocentric groove. 

Sanders' single best-known piece of music is "The Creator Has a Master Plan," an expansive performance from 1969 that peaks in wailing cacophony but ends with a buoyant, soulful vocal refrain. Originally split across two sides of the 1969 LP 

, the track was later issued on CD as a single track, nearly 33 minutes long.

Pharoah was born Ferrell Sanders on Oct. 13, 1940, in Little Rock, Ark. His love of music began at home, through his choir-leading grandfather. After high school — and a switch from the clarinet to the alto saxophone, before finally settling into the tenor sax — Sanders moved to the West Coast around 1959, attending Oakland Junior College, expanding his musical palette and pursuing the horizon, sitting in with avant-garde saxophonists like Sonny Simmons and Dewey Redman. While there, Sanders first met and befriended John Coltrane, though they wouldn't work together until many years later.

In 1961, Sanders relocated to New York, looking to join the city's fecund jazz scene, where Coltrane was a reigning figure. Sanders' landing in New York was rocky, however, resulting in intermittent homelessness as he practiced, sporadically, with Sun Ra and his Arkestra. (Sun Ra, it's said, was the one who encouraged him to take the name Pharoah.) Eventually, he was forced to pawn his horn.

Sanders' fortunes in New York slowly but surely turned around as he established a solo career, and by 1965 he was a member of what would be Coltrane's final quartet. 

, recorded in 1965 and released the following year, was a late-in-life turning point for Coltrane and, by extension, Sanders, who would become known for using his instrument in novel — anarchic and atonal — ways. Last year, Impulse! released the archival recording 

it features Sanders as a vital addition to Coltrane's quartet, expanding on his most heralded musical statement. (

 a separate album recorded during the same engagement, had long been a touchstone for an avant-garde left to forge the path ahead after Coltrane's death in '67.)

Even given his pioneering work, Sanders downplayed his technical achievements in favor of the emotional resonance he was seeking. "I'm not so much of a technical player myself," Sanders explained in 

. "I'm probably not that much of an intellectual player, as some other musicians. What I do is... express. That's what I do."

Sanders' stature grew beyond the jazz avant-garde space as he became something of a spiritual elder, and his expressiveness survived in new contexts. In 2021, he released the album 

 in collaboration with the electronic musician Sam Shepherd, who records as Floating Points, and the London Symphony Orchestra that was widely and immediately hailed as one of the year's best. A patient and meditative album, it sometimes feels like a structure built for the sole purpose of allowing Sanders' voice and saxophone to levitate.

For many years, the jazz establishment lagged behind the African American community in appreciating Sanders' work, especially apart from his affiliation with Coltrane. But the power of his example and the sweep of his music helped set the framework for an ascendant class of artists like tenor saxophonists Kamasi Washington, James Brandon Lewis and Nubya Garcia, and multi-reedist Shabaka Hutchings. 

"I find it difficult to regard Pharoah Sanders as an individual," wrote Hutchings in an 

 for The Vinyl Factory. "I intuitively consider him as representational of a creative principle that centers communalism as the driving force from which spirit is manifested through sound."  

Andrew Flanagan

Nate Chinen

Sanders, revered as one of the avant-garde's greatest tenor saxophonists, was a member of John Coltrane's final quartet. His expressive playing laid a path for generations of musicians.


Omar Marques

The Creator Has A Master Plan

Pharoah Sanders, giant of spirit-driven jazz, dies at 81

Carbon Sound’s Host Sanni B. met with Mati at the MPR booth on the corner of Judson & Nelson at State Fair for a special live session. 

 is a Minneapolis-based artist, whose latest single 

 provides a laid back, pensive late summer anthem. 

Learn more about Mati and listen to "Please Don't Tempt Me", streaming now on carbonsound.fm.

Camera Operators: Evan Clark, Tom Campbell 

 to watch future in-studio performances and fan reviews.

Carbon Sound’s Host Sanni B. met with Mati at the MPR booth on the corner of Judson & Nelson at State Fair for a special live session. 


Stories

Denzel Curry talks Anime, tour, "Melt My Eyez" and more with Carbon Sound

Where are the Black musicians in the country's largest orchestras?

Coolio has died at 59

Get the Carbon Sound app

Remembering Charles Bradley, 'The Screaming Eagle of Soul'

SPUN OUT DJ Battle

Denzel Curry, AG Club, Redveil, and PlayThatBoiZay at the Palace Theatre

New Music on Carbon Sound - Week of September 26, 2022

Connect with Carbon Sound

Rihanna will take center stage at the Super Bowl halftime show

Pharoah Sanders, giant of spirit-driven jazz, dies at 81

Mati - Carbon Sound Session LIVE at Minnesota State Fair

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