"An Intimate Interview with Rachelle Ferrell"  

  Too Groovy Salon & Spa/ Grace Entertainment Present

A "Quiet" Evening with
RACHELLE FERRELL
with special guest
COCO BROWN

Click here for details.

Not many experiences that I have had in my life could compare to the absolute pleasure and honor I enjoyed in interviewing, in person, the woman this week’s article is highlighting.  I could take up a lot of text recounting to you her many accolades, her rave reviews, her world-wide renown, and so on, but all of that means nothing when you have the opportunity to sit down and share with (not talk to) a woman like Rachelle Ferrell.  She is the genuine article!  Down to earth, unpretentious, tremendously humble, highly spiritual/conscious, ridiculously smart,…and silly as hell (sorry Rachelle, I had to add that)! I was blessed to spend a significant amount of time, one-on-one, with one of the most prolific female vocalists/songwriters of our time, but what I hope you will experience, within these words, is a very real and human person who has a passion to share herself with the world and return the blessings that have been bestowed upon her.   

It was a few Sunday's ago when we hooked up at the Starbucks on 14^th and W. Peachtree.  I got there a little earlier than our 4:00pm appointment and found a table by the window while I read Cheikh Anta Diop’s “Precolonial Africa” in the meantime. Rachelle’s manager called me to tell me she was on her way though running a little late.  She finally arrived in afro puffs, hoop earrings, and a fly crocheted coat, excusing her tardiness but making it up for it with a heartfelt hug. She got settled as we started cracking jokes and then began expounding on the socio-political structure of the Greco-Roman Empire as we paralleled Diop’s research to the state of our modern society, before I finally turned the recorder on and began the interview: 

A.S.—I have a lot of friends who, as I, love your music, and I know how the audience gets involved with an artist at a concert…the range of emotions that they experience and the elation that registers on their faces, but what I want to know is what do you see while you’re up on stage and what do you feel when you look out into your audience?

Rachelle—Hmm…good question!

A.S.—Thank you.

Rachelle—If I’m doing what I’m supposed to do, I’m seeing everything and feeling everything—not just from in that room, but everything in the whole Universe is flowing through me all at the same time, and there’s no time to focus on any one thing. It’s sort of like, if one can have the courage to just surrender then you can do anything you want.  The main thing is to get out of your own way; if you can do that, then the Universe kinda just works through you.  I find myself in a zone.

A.S.—That’s kinda funny because I’m hearing that from some artists nowadays who really put themselves into a live performance not for the showmanship, per se, but just from the reciprocation of energies that exist there because it’s a shared thing.

Rachelle—Absolutely, I come and I offer myself and my family (i.e. audience) comes and offer themselves—from that mutual offering something bigger and greater is created, and we get to not only create this vehicle but we get to go places in it that separate and apart we could never do.  That’s a crazy experience…it’s wonderful!

A.S.—How do you still give of yourself and try to convey that when you’re doing a studio project?  How do you maintain that same type of energy for people who don’t get the opportunity to see you in person?

Rachelle—It’s a different animal, a different world, a different universe in the studio, but notwithstanding that or maybe even because of it, it’s a different approach. One’s sphere shrinks to doing what’s best for the song, and pouring your energy and spirit into that song, that moment, so that you can accurately convey what it is that you want to share to whomever may be listening at any given point, time, and space. That’s more of a solitary creation and as a result it’s more static…it still has a life but…how the listener participates, I never know.  That’s like an unknown.

A.S.—I guess that’s like the artist who’s long passed on and their works are later reinterpreted based on how the society is at that given time—what they draw from it.

Rachelle—Yeah, I mean you put something out into the Universe and then somewhere some individual from like Boise, Idaho may hear something and it may change their lives and you just never know.  So, the approach in the studio has to be more for the purpose of expressing the essence of the song.  “Live”, the song is there and everybody knows the song, but now we’re trying to use that song as a vehicle to get someplace else, because we already created and solidified what the song means to us; as a result, you’re already open in ways you weren’t open before, and not only to the music but to each other.  “Live” tends to be more volatile, more surprising, shocking…just totally unexpected—you can’t even go in there knowing what to expect!  It’s quantum! You know what I mean?  You know, that law in quantum physics where the particle or the wave doesn’t come into existence until you put your attention to it, and so it’s that kind of vibe.

A.S.—Oh, ok…that’s whassup.

Rachelle— [Laughing at my quick and simple answer] Okay!

A.S.—[Laughing as well] Hey I’m from Brooklyn—we can sum up things in one remark!

Rachelle— [Still laughing, unable to speak for a moment]

A.S.—[Toning it down so Rachelle doesn’t choke on her tea] Well, from the roots of it all, I learned that you started getting into music when you were like 6, according to what…

Rachelle—Somebody just arbitrarily put that up there. 

A.S.—Ok, then when did you realize that music was your life’s path? 

Rachelle—It was never something that had to be a realization…it’s almost like when did you realize that you were Black? 

A.S.—It was just always there. 

Rachelle—Yeah. 

A.S.—Well the reason I ask that is because there are some people who may or may not be aware of their inherent gift, and also because of fear or the way society infringes upon people’s conscious that they have to go to school, get the degree, get the entry-level job, start a career, get the house with the white picket fence, the spouse, the children, the dog, etc.  Based on the influence of society, they choose to keep up a certain lifestyle…not many people accept their actual path/gift.  Maybe my question is was there ever a point you almost did not pursue this career path in music? 

Rachelle—There wasn’t ever a point that I almost didn’t pursue it, but there have been several moments where I almost decided this is not what I want to do anymore. 

A.S.—What would you have done had you made the decision to leave? 

Rachelle—I have a lot of different interests. 

A.S.—What are they? 

Rachelle—I’m interested in history, psychology, sociology, the spiritual archetypes of the evolution of civilization and what that means in terms of the impact it has made on modern society, and…I’m interested in knitting [laughing]. 

A.S.—Did you knit that? [referring to the crocheted coat she is wearing]  

Rachelle—[smiling] Naw, I can’t claim this one but I’ve knitted several sweaters and I do make stuff like this—when I have a moment.  My initial thought at that time was to write for other people and get out of the front-line, you know, because anyone or anything or any idea that finds itself on the vanguard of anything, automatically you become salient, so that means automatically you takin’ all the hits!  So by the time everybody else catches up to you, your head is toh up! [laughing] 

A.S.—[laughing as well] Ok, well that’s one way of putting it!  But, I gotcha. 

Rachelle—After a while though it’s like, “why it gotta be all’ ‘at”, why can’t I just do what I do? 

A.S.—Well, because there are people who are against talking a chance. 

Rachelle—Right, and then they make the price high enough so that the “average individual”, whatever that means, will look at that and say, “oh, I could never do that!”  And so they make those who do dare pay such a high price that others will say, “nah, I can’t do that…I’ve a car note, etc. I can’t afford to follow my dream.”   

A.S.—Right.  So this seems to be your frame of mind now in which you do things in the name of freedom, and what I guess ultimately led to your departure from Capitol Records to where you recorded “Individuality (Can I Be Me?)”, as well as you starting your own record label called Evolutionary, right? 

Rachelle—Yes, but I have since abandoned [Evolutionary Records]. 

A.S.—Why is that? 

Rachelle—I’ve given it to my brother, because he’s decided he wanted to go out on his own, so that’s for him. 

A.S.—What’s for you? 

Rachelle—Hmm…I’m trying to figure that out right now.  I’m working on starting another label, putting out a “live” record that was just recorded maybe about a month ago in L.A.  I’m working on the mix of that now and then mastering process.  I’m just learning what those processes are; the sequential steps that have to be taken to get from Point A to Point B.  Before, all I did was deal with the music on the records, and George Duke and I would be there for 12 to 14 hours a day and then come out and say, “I’m done”, and then the record company would take it over from there—I didn’t know better.  Now, even as I go through [some of the same processes] I’m making myself wide-openly available to be schooled by the Universe about this process so that I can then in turn help others go through the process as well.  For years, there’s been this mystique or “Holy Grail type” energy around the whole process of putting out a record, working with the marketing and promotion department, and [record companies] do that for a reason.  They don’t really want to foster the independent spirit, even though there are more independent labels now than ever.  I think that’s part of the whole fight, the whole wrangling back and forth.  Up until recently, the major labels have been able to exercise tremendous control over not only people’s creative lives but also their personal lives.  They hold them hostage because they’ve gotta be able to make a living. 

A.S.—Was that why your first recorded album, “First Instrument” (first released in Japan and Jazz focused), actually became your second U.S. release behind the self-titled album (that actually came second and was R&B focused), because it would be more commercially accepted from a marketing standpoint? 

Rachelle—It was actually the exact opposite.  Bruce Lundvall, who signed me and who heard me sing live as well as heard my demo, heard two completely different things.  He was like, “you gotta do both [Jazz and R&B]”; so I ended up being signed to two deals (Capitol and Blue Note), which is pretty rare in the industry.  Well, he was so excited about the Jazz part that he wanted to put something out right away.  My thing was, at the time, not to be stuck with the moniker “jazz singer”, which you see, in retrospect, worked like a charm [see: sarcastic].  That’s why the confusion now is where to go in the record store to find my records—some stores, it’s in the Jazz section and some stores it’s in the R&B section.  It’s even going to get more confusing as time goes on when I start rockin’ my Blues. 

A.S.—I heard about that, too. 

Rachelle—Whatchu heard?! [laughing with a surprised look] 

A.S.—I mean, I know some the musicians that you work with like Billy. 

Rachelle—Billy Odum? 

A.S.—Yeah. 

Rachelle—Oh, okay…what’d he say?! [imagine the “Whatchu talkin’ bout, Willis” look Gary Coleman makes] 

A.S.—I mean, I was told you would be trying new material out on the audience, but I hate the fact I wasn’t there to see for myself so I could accurately put it into perspective.  But I’ve always known you to be the type of artist who explores.  I could tell that’s how you were, especially when you sang on “The Manhattan Project”, which I even have the video to…you were doing that perm”, by the way. [laughing] 

Rachelle—Oooh, I just had a flashback! [laughing as well] You ain’t even fair on that one!   

A.S.—I mean, I looked past that, of course. 

Rachelle—How could you look past it…oooh…the hair, the dress… 

A.S.—Oh yeah…that dress was kinda huggin’ you, and legs for days! 

Rachelle— [she almost falls out laughing] 

A.S.—I was like, “Oooh, Rachelle…excuse me!” 

Rachelle—Brotha, can I tell you that was a WHOLE other lifetime! 

A.S.—That was like in 1990.  So tell me, what has been the most significant change that you have undergone from that point up till now? 

Rachelle—The most significant…I would say, overall, my consciousness—my awareness.  When I think back to that time, I was so young, so naïve, I took everybody at face value.  I was innocent.  All that fueled my musicality with that sort of explorer’s heart, but it could be damaged very easily.  And now, while I still retain my innocence out of a conscious choice, I’ve chosen to toss my naivety.  It’s a much better fit. 

A.S.—What’s the hardest thing that you’ve had to deal with as an artist from the business side of the industry? 

Rachelle—I think, and it continues to be, learning how to navigate the waters of all the stuff that occurs in the industry; all those subversive, deceptive, dishonest, manipulative…you could go on forever.  It was learning how to navigate that whole climate, figuring out how to not allow it to sabotage your artistry—not just what gets put out, but the soft, sacred inner space from which it emerges, which has to be protected at all times.  Once it’s been breached, it’s very ephemeral—it’s gone!  So that has been the most difficult thing.  To be an artist, as opposed to just an entertainer, one has to remain precariously vulnerable, in honor of your gift and the process that you have to go through. 

A.S.—Tell me about turning down the nomination you had received for an NAACP Image Award. 

Rachelle—I was quite disturbed by the duplicity that was being either consciously or unconsciously—I don’t know, it doesn’t matter—was exhibited by the organization, at that time.  It’s an organization rich in history, rich in accomplishments, and just continuing the fight and the struggle, in terms of getting proper representation on television, but because they need ratings and wanted to be with the in-crowd at that particular time, for that particular show, then it’s like, “we’re gonna set aside all of that temporarily” and what not, and let my sistas come out half-naked so we can get our hustle on. That disturbs me and I couldn’t be a part of that.  We are informing and being informed by the rich history of the organization, so why is there a temporary caveat—based on what?  I cannot put all that is me, which I know to be substantial, behind something that’s duplicitous and not honest.  At that point I realized I’m really not in the business, but operate in a parallel reality to the business, and so be it.  They don’t mess with me and I don’t mess with them, and I’m not speaking about the NAACP in particular but that whole ilk of the industry, the process of award shows, you know…all that’s cool. 

A.S.—I feel you.  You know, I don’t mean to go on a tangent, but I’m loving your vocabulary, but I’m sorry, go ahead! 

Rachelle— [laughing] Thank you. 

A.S.—I know there gonna be some people bustin’ open their dictionaries after reading this!  Some are gonna be like, “did he misspell ‘milk’?”  But let me stop. 

Rachelle— [still laughing while I act the fool]  

TAPE RUNS OUT ON SIDE A SO THIS IS WHAT PICKS UP ON SIDE B… 

Rachelle—I was pleasantly surprised.  I didn’t know I was on his radar, and according to the interview someone forwarded to me, someone was asking him about a certain artist, and he was saying like, “I prefer Rachelle Ferrell…someone who can really sing.”  I was like, “wow, who knew!”  I mean, that’s Rick James!  I was deeply honored that he even thought of me like that, allowing my music into his space! 

A.S.—So now you understand what I told you earlier. 

Rachelle—What’s that? 

A.S.—The time when you complimented me on the groove I made up when you first came to Apache Café… 

Rachelle—Yeah, that was tight! 

A.S.—Well, that’s the same way I felt, because I was like, “Rachelle Ferrell liked something I did? “  I was good for the rest of the night, even if I played a bad note afterward, I was straight! [we both laugh] 

Rachelle—I didn’t understand then but I do now. 

A.S.—Okay, let’s give the people some detail about your upcoming projects. 

Rachelle—In the beginning of November, I recorded a live CD in L.A. with “Lil” John Roberts on drums, Phil Davis on keyboards, Billy Odum on guitar, Phil Hamilton on guitar, Byron Miller on bass, and we just did our thing.  I do have some surprises for my audience, which they wouldn’t expect. 

A.S.—What, you start rappin’?  [laughing] I’m just playin’! 

Rachelle—[Laughing] No you ain’t!  Naw, I didn’t start rappin’ but I’m liable to do that, and I have done that before.  I may have even done it at the Variety Playhouse last July.  If the moment strikes me…it’s whatever! 

A.S.—Uh, oh…watch Rachelle rip it! 

Rachelle—[Rachelle starts beat-boxing and vocal scratching while I start making up wack rhymes while a White couple look at us like we’re crazy] 

A.S.—I must say this is one of the most interesting interviews I’ve ever conducted!  You are so cool and relaxed that for most of this interview I actually forgot that you are this world-renowned vocalist Rachelle Ferrell, and just this unique, profound, funny, and beautiful woman named Rachelle who is just real cool! 

Rachelle—Thank you very much…I really appreciate that!