In Conversation: Acclaimed Pianist and Producer Ray ‘Goldfinger’ Angry

Ray Angry is a classically trained pianist, producer, musical director and one of the most sought after artists today. Aside from his documented talents, he’s a very unassuming, respectful and admirable individual, which I’m sure is an attraction for the plethora of acts who have worked with him. Ray’s first-class resume features collaborations with Jeff Beck, Wynton Marsalis, Mark Ronson, Q-Tip, Yolanda Adams, Daniel Winans, Joss Stone, Sting, Me’Shell Ndegéocello, Esperanza Spalding, Dionne Warwick, Dianne Reeves, Queen Latifah, D’Angelo, Lauryn Hill, Kelis, Christina Aguilera and ongoing associates The Roots. Currently, in London, we managed to catch up with him to discuss his current residency, initiatives and future projects.

Thanks for granting the interview, Ray.  Firstly, what projects are you currently working on?

I’m doing a residency with Daniel Merryweather at Laylow in Notting Hill, London. It’s an amazing establishment. It’s geared towards creative people and gives them a platform to work.  There’s an incredible music studio here! I’m currently working with several artists around the world on forthcoming projects. I’m also working on ‘Producer Mondays’ which is a personal project in New York. It’s a creative platform, allowing musicians to express themselves freely and a collaborative project designed to bring about social change via music.  I’m currently working on a related album and TV series. Producer Mondays is every Monday in New York but I want to take the initiative globally.

You’re known for your ongoing association with The Roots. Please tell us more about your involvement and history with the group?

For me, The Roots is like Genisis in the bible- the beginning. Their late manager Richard Nichols was very instrumental in me realizing my creative powers, if you can call it that.  When I started with The Roots, I was a young musician, trained in classical and jazz piano. When I got to NY, I had my first recording session with Joss Stone. I got this because of my link with the Roots. I don’t think they realized that. Their manager was a mentor and helped instill the principles of being a professional musician, creating your brand and being true to myself. My album released last year was heavily influenced by him. Since the start of this journey, I’ve had the privilege of working with several major artists such as Mick Jagger, Sting, and Elvis Costello as a consequence.

You’ve worked with a variety of artists. What have been your collaborative highlights and why?

I think one of them has to be working with Elvis Costello. It’s related to the principles of Producer Mondays- being in the moment and creating art in the moment. A lot of times, when I make music I simply sit at the piano and play. We were in the studio, working on Elvis Costello’s collaboration with The Roots entitled ’Wise Up Ghosts’.

I was playing something and Elvis started writing and singing.  My father had recently passed but he didn’t know that.  The song he was writing was about his father passing away. We had this connection but didn’t even know it. I felt the universe was speaking to us both, saying follow your purpose and encouraging me to connect with others through the arts.

Your collaborations with artists such as Ahmir Questlove Thompson have been highly recognized. The film ‘Detroit’ and Spike Lee’s reboot of ‘She’s Gotta Have it’ are just two examples. Does your approach to producing music differ when it comes to composing for film or television?

Not really. It’s all about capturing a vibe, holding on to it and translating that musically. It’s about finding the least common denominator. It’s not complicated, it’s just a feeling. When composing, you do rewrites and rewrites and go back to what you wrote originally. Working with him helps me do away with my ego and second-guessing myself. Doing scores for film and television is something I’d like to do more of.

After nearly three decades of producing and arranging for other musicians, you produced your album ‘the One.’ Why did it take so long?

Because I had to live!! The strange thing is I never wanted to create a record/album. I was always happy performing with artists and collaborating on projects.  I was working with Steve Wilson and his company JMI, who released the album. Many people were unaware of my classical training and are accustomed to me working in the HipHop world. I’m like a chameleon, working in different environments. I think it was Christian McBride who said I’m like a secret agent and that’s where the nickname ‘Goldfinger’ came from. Music is about creating a journey. It was important to capture where I was at the time, working in different genres and with different acts such as Queen Latifah and Esperanza Spalding.  I was in so many different worlds, I think I was ready to get the music out of me. I wrote it over three months and recorded it over three days. I want to do a series of albums and each will be different. Album two will be surprising. It will be entirely classical music.

The album is described as a ‘meditation on the concept of higher love- the love it will take to unite the tide in America and make the world a kinder and more passionate place.’ Tell us more about your inspiration and thoughts on the current social and political landscape?

Music is one of the most powerful communication tools on the planet. People don’t realize the power of music, which is a universal language and common denominator around the world. I want to use the gift I have to bring about social change. It’s also a case of helping others realize their power. My success is your success. Your success is mine. Music can be used to make social change.

I recall watching a video of you by the Kennedy Center, talking about influencing the industry. How important is it for grassroots musicians to be involved in the ‘business side’ of the arts.

I think the most notable figure for me in this context is Michael Jackson. When you clear the smoke, he was doing more than just singing. He was doing business deals and owning half of Sony’s catalog. For me, having a Master’s degree in music, the conversation was always on creating music, being a good employee but never a leader. It was never focused on the business side of the industry.  Artists need to be more business-minded, not just focusing on transcribing music but being able to pay the rent. If they don’t, others will. We have lawyers and business people who have studied the business, developing business plans and now manipulate the industry. That’s how Spotify and others make money while artists don’t.  The labels are in control but, with streaming and various platforms, things will change.

For further information on Ray Angry please visit his official website, Twitter, Facebook and Instagram accounts

Ray appears with Daniel Merriweather at LAYLOW, Golborne Road, London, UK this Wednesday evening from 8pm

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