For the first time since founding Orchestra Noir in 2016, Philadelphia-born conductor Jason Ikeem Rodgers is finally bringing his musical sensation to the city where it all began. Known for blending classical orchestration with hip-hop and R&B, Rodgers says he’s “very much looking forward” to performing in front of his hometown audience.

Story Highlights

• Orchestra Noir makes its Philadelphia debut on Oct. 18 at Miller Theater.

• Performance features orchestral reinterpretations of 2000s hip-hop and R&B hits.

• Jason Ikeem Rodgers, a North Philadelphia native, brings personal and professional roots to the show.

• Audience encouraged to dress casually and participate actively — no traditional concert etiquette.

• Rodgers’ mission: increase African American representation in classical music and inspire young musicians.

• Recent educational residencies expose underserved youth to professional orchestra musicians of color.

“I’ve played with all kinds of superstars, from hip-hop artists to rock ‘n roll stars,” Rodgers explains. “The orchestra has been applauded and admired all over the country, and will soon be traveling worldwide. Yet I’ve never played in the town where I was born.”

The reason for the long wait, Rodgers admits, is not entirely clear. “Maybe it was the idea of playing in front of family and friends that made me very nervous,” he says thoughtfully. “I’m not sure exactly why it’s taken so long, but I’m looking forward to playing in Philly very soon.”

Ensemble Arts Philly will present “Orchestra Noir: The Culture 2000 Tour” on October 18 at the Miller Theater, showcasing reimagined 2000s hip-hop and R&B hits in a full orchestral arrangement. The performance promises an experience unlike any traditional concert, highlighting Rodgers’ mission to celebrate the cultural achievements of African American music pioneers across genres, including classical.

Growing up in the projects of North Philadelphia, Rodgers’ path to musical success was not straightforward. It was during middle school that a teacher, Virginian T. Lam, recognized his potential. Rodgers recalls how, despite a family full of musicians, it was Lam who changed the trajectory of his life.

“I had always wanted to play the piano and I knew she could be just the one to teach me,” Rodgers says. “I hounded her until she agreed. She took me under her wing, became my teacher, my inspiration, my mentor. She even treated me like a son.”

Rodgers explains that Lam’s guidance went beyond piano lessons. “She not only taught me the piano, but also staging and theater. In the end, it was she who is most responsible for my career.”

After graduating from the School District of Philadelphia, Rodgers began his career as an instrumental music teacher in the same district. He now returns to the city with Orchestra Noir, ready to give Philly audiences a performance that is both innovative and personal.

“Philly gave me my musical foundation,” Rodgers says. “From growing up here to teaching music in this very school system, this city is where it all started for me. To return now — finally — with this tour and Orchestra Noir is something I’ve dreamed of for a long, long time.”

What makes Orchestra Noir truly unique is its approach to concert experiences. Rodgers emphasizes that audiences should expect more than a traditional sit-down performance.

“Our concerts are not the typical concerts you might expect,” Rodgers explains. “Ours is not a sit-down event. There are no programs. It’s a party atmosphere, like being at a Black cookout. We encourage you to get up out of your seat. We want you to dance, to have fun. We don’t want you to feel as though you have to follow some sort of etiquette.”

Rodgers also encourages casual attire. “We encourage people to dress comfortably. Wear your jeans, wear your sneakers. You’ll be dancing. You’re coming here to have fun,” he adds.

Beyond entertainment, Rodgers and Orchestra Noir focus on inclusivity in classical music, a field traditionally dominated by white musicians.

“My mission is to change things, even a little, in the predominately white, European-based classical music tradition,” Rodgers says. “I know today, in the field of classical music, I’m seen by many as a foreigner. I don’t fit the prototype; I’m from the hood. But someday, I’d like to change all that and bring more African Americans into the wonderful world of the classics.”

Orchestra Noir has also been active in music education, inspiring young, minority musicians through education-centered concerts. Recently, the orchestra completed a three-day residency in Montgomery, Alabama, giving underserved youth a chance to experience professional orchestral musicians of color firsthand.

Frances Egler, vice president of Theatrical Programming and Presentations, praises Rodgers’ innovative approach. “With this first performance in our Miller Theater, we applaud Rodgers for his creativity, his commitment to the future of orchestral instrumentation, and his passion for arts education.”

Rodgers maintains a lifelong bond with his middle school teacher. “She’s now 75 years old,” he shares. “And she babysits my children. I do love her like a mother.”

For more information on Jason Rodgers and the “Orchestra Noir: The Culture 2000 Tour,” visit www.ensembleartsphilly.org.

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