Ropeadope Records Building Community at 25

On the index of jazz record labels bearing fitting and poetically resonant names, we might readily cite such historic examples as Blue Note, Impulse! and Verve. Off in its own corner, ropeadope also suits the category, befitting a label that has skillfully dodged, weaved and jabbed in the genre directions of jazz, groove, neo-fusion, hip-hop hybrids, New Orleans culture and more.

Over the course of releasing 600-plus titles, the label has lived up to its moniker. This year, it earns a genuine “historic” badge of honor, having attained its 25th anniversary milestone. What started out as a grassroots adventure launched by Andy Hurwitz with the label’s first release — DJ Logic’s Project Logic — in 1999, the label continues it eclectic ways from a home base in Philadelphia where ropeadope thrives on its own multi-tentacled terms.

Louis Marks, who took over as CEO in 2014, comments, “As we wrap up year 25, we want to stay true to the original tenets of ropeadope — individuality and community. It is too often the case that anniversaries are used as a way to sell more things, so we’re skipping all the typical stuff.”

Among the anniversary plans is a documentary project retelling the ongoing story, a new chatbot, livestreaming with artists and company figures behind the scenes and a printing of some 250 ropeadope clothing designs produced over the past quarter century.

Fabian Brown, label president, notes, “Personally, I grew up with ropeadope as a fan and then later was fortunate enough to have experienced, firsthand, the power of our community of artists. It has been incredibly fulfilling to advocate for musicians who stay true to their creative vision while we support them with the brutal business aspects of the industry. This anniversary is a celebration of our shared journey.”

How best to compare the early days of the label with its current state? “OG ropeadope had more freedom,” Marks comments, “and less freedom at the same time. They were unburdened by the expectations that go with reputation, but they were limited by the old distribution system and the changes in the business. Ropeadope of 2025 will be as free as [possible]. We don’t feel we have anything to prove or a need to ‘compete’ in today’s music business, but we must shake off the definition of us as a record label. It is far too limiting for what we are and what we will be.”

Brown adds, “Ropeadope circa 2024 isn’t about looking at what the music industry is doing right or wrong. Instead, we focus on nurturing and championing musical art that speaks to the soul and drives social consciousness.”

In terms of the label’s relationship with the broader jazz label sphere, Marks is quick to remark, “We’ve always felt like an outsider. I really do not pay much attention to other labels. Minding ropeadope is tough enough. But I think that we really don’t belong in the club. I’m fairly certain that we are often the second or third call for an artist, and that’s OK because contemporary art can be easily overlooked in the commercial world. We end up with great music because of this.”

Trying to get a reliable fix or compact “sound bite” on ropeadope’s content and artistic m.o. can be tricky business. To date, the label’s “roster” has included Robert Randolph and other sacred steel music, Nate Smith’s KINDRED, Chief Xian aTunde Adjuah, Col. Bruce Hampton, the Dirty Dozen Brass Band, Ramsey Lewis, Terrace Martin, Eddie Palmieri, numerous R&B/jazz/hip-hop ambient records … and that’s just scratching the surface.

“It’s true,” Brown notes, “putting your finger on the pulse on ropeadope’s nature and roster can be challenging due to the diversity of our releases and artists. However, if you look close enough, there are definitely throughlines and connections within our discography.

“It’s not really about comparing ourselves to other labels. Critical thinking is essential for us to connect musicians’ art with their audience, their tribe. We focus on the unique stories each artist brings and how we can support their vision. We aren’t concerned with what this label or that label is doing: Everyone has to write their own story.”

One example of a ropeadope artist who has risen to great heights in the larger jazz world and visibility is saxophonist Lakecia Benjamin, a critically and commercially acclaimed artist putting her stamp on jazz, more generally. As Marks enthuses, “We are always happy when we see someone like Lakecia, who has poured her life into music, get the recognition she deserves. We are also proud of Chief Adjuah, who has deliberately and elegantly brought true history to people through his music.

“Given a good support system, each artist has the potential to be more than just a performer, but an ambassador of hope. I think the most exciting thing about Lakecia’s success is that she is a powerful role model for so many, and I am looking forward to her messaging as things progress.”

Another high-profile story linked to ropeadope is the popular post-fusion band Snarky Puppy, led by Michael League in a boldly independent fashion, creating its own GroundUp label under the idealistic ropeadope umbrella. The band also dropped some Grammy gold dust into the ropeadope legacy, winning a Best R&B Performance Grammy this year for its version of “Something,” featuring stylistic, wizardly vocalist Lalah Hathaway.

“Supporting artist-run labels is a true value-add to ropeadope’s mission,” says Brown. “We’re passionate about teaching the art of business to our artists, recognizing that their zone of genius often lies in creativity and developing their art. Many artists have a desire to curate their musical tastes but need support with the administrative side of the industry.

“It’s incredibly rewarding to see an artist develop their brand and business with our imprints. Snarky Puppy is a fantastic example, followed by other amazing labels under our umbrella like Ropeadope SUR, Artist First and Stretch Music (Adjuah’s label). Even though the Snarky Puppy years were before my time, it’s clear that ropeadope has always empowered artists to handle their business from a creative perspective. This nurturing environment allows them to thrive both artistically and professionally.”

A new facet of the ropeadope company agenda is the creation — by Marks, Brown and musician/administrator Joe Pignato — of a non-profit organization called Third Way Cultural Alliance geared toward supporting the creation of that seemingly endangered cultural species: the full-length album. Brown points out, “There are many individuals and organizations who recognize the value of contemporary art and want to support it — not just the ‘grandfather’s jazz’ of the past. There is a genuine, intrinsic drive to preserve works that represent our current culture and community. Through the Third Way Cultural Alliance, we provide patrons, philanthropists and organizations the opportunity to focus on the preservation of contemporary art, allowing artists to create full-length pieces of work.”

In short, the ropeadope story, at 25, is on the long-run plan, with new ideas in progress. As Marks says, by way of an instructive historical arc, “Our first album was presenting Project Logic, an improvisational band with a turntablist (DJ Logic) taking solos. Everything else follows that. What this is really about is paying attention, listening to what is happening in real time. The music industry has a way of defining scenes after they are formed — the time when everyone is following along. I don’t find that particularly interesting.”

Bringing the subject full circle, Brown adds, “The goal has always been to amplify the artist by connecting them with their community, allowing them to express their thoughts, their values and their culture through creating art. The way that shows up is different from release to release, but the undertone is similar: Have a message worth communicating and make sure the right ears are listening.” DB

from https://downbeat.com