Robert Glasper → THE MATRIX of FABULOUS DISCOVERIES

LABYRINTHINE TRAILS (BEGINNING IN BAHIA) THROUGH THE SPRAWLING CREATIVITY OF OUR TIME → CURATED BY THE MOST SOPHISTICATED & SUBTLE RECOMMENDATION SOFTWARE YET DEVISED → the minds of musicians, writers, filmmakers, painters, producers — ALL NOW — via the virtual magic of small world networking, and irrespective of fame or public — 100% findable.

Pathways in to Robert Glasper ↙↓↘

Pathways out to curated artists / categories → 12

(outgoing curations by THE MATRIX)

Who I Am & Where I Live:

Name: Robert Glasper
City: Brooklyn, New York
Country: United States
Hometown: Houston, Texas

My Life

Biographical: Robert Glasper has long kept one foot planted firmly in jazz and the other in hip-hop and R&B. He’s worked extensively with Q-Tip, playing keyboards on the rapper’s 2008 album The Renaissance and co-writing the album single “Life Is Better” which featured his label mate Norah Jones. Glasper also serves as the music director in yasiin bey’s touring band, and has toured with the multi-platinum R&B singer Maxwell.

The Los Angeles Times once wrote that “it's a short list of jazz pianists who have the wherewithal to drop a J Dilla reference into a Thelonious Monk cover, but not many jazz pianists are Robert Glasper,” adding that “he's equally comfortable in the worlds of hip-hop and jazz,” and praising the organic way in which he “builds a bridge between his two musical touchstones.”

Glasper drove that point home with his last album, 2009’s Double-Booked, which was split neatly in half. The first part featured his acoustic Trio, which had gathered a great deal of acclaim in the jazz world and beyond over the course of two previous Blue Note albums (2005’s Canvas and 2007’s In My Element). The second part featured his electric Experiment band and hinted at things to come, even earning the keyboardist his first GRAMMY nomination for “All Matter,” a collaboration with the singer Bilal that was among the contenders in the Best Urban/Alternative Performance category in 2010.

With Black Radio, the Experiment band has fully arrived. Featuring Glasper on piano and Fender Rhodes, Casey Benjamin on vocoder and saxophone, Derrick Hodge on electric bass, and Chris Dave on drums, the band is plugged in and open source. Each of the band members is prodigiously talented and lives naturally in multiple musical worlds, distilling countless influences into a singular voice. “That’s what makes this band unique,” says Glasper. “We can go anywhere, literally anywhere, we want to go. We all have musical ADD and we love it.”

Black Radio also features many of Glasper’s famous friends from across the spectrum of urban music, seamlessly incorporating appearances from a jaw-dropping roll call of special guests including Erykah Badu, Bilal, Lupe Fiasco, Lalah Hathaway, Shafiq Husayn (Sa-Ra), KING, Ledisi, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello, Stokley Williams (Mint Condition), and yasiin bey.

“I wanted to do a record that showcased the fact that we play with artists in other genres,” explains Glasper, adding that the album has “more of an urban, hip-hop, soul kind of vibe, but the spine of it all is still a jazz spine.”

What may be most remarkable about Black Radio is how Glasper (who also produced the record) was able to weave all these different voices into a cohesive album, avoiding the random patchwork feel that many “special guest” projects suffer from. “The record doesn’t seem like it’s a special guest record because of the relationships we all have,” he says. “These are all friends. All the guests on the album have musical similarities.”

That common ground and comfort level is what created the spontaneous spirit of adventure and experimentation that permeated the recording sessions, which all the band members describe as being more fun than work. Friends would drop by the studio in Los Angeles to hang out, listen to the band, get inspired, and jump into the vocal booth to lay down a track. “These are all people who are known for being in another genre,” says Glasper, “but at heart they’re jazz musicians, so they’re like ‘Let’s hit it. We don’t really know what’s going to happen but let’s go for it and see what happens.’ We all have that in common, which is why I chose the people I chose.”

“You can’t pigeonhole what we’re going to do or how we’re going to do it,” Glasper declares. The Experiment wears its eclecticism on its sleeve throughout Black Radio, presenting new collaborative originals and surprising cover songs. They transform the Afro-Cuban standard “Afro Blue” with Badu, Sade’s “Cherish the Day” with Hathaway, David Bowie’s “Letter to Hermione” with Bilal, and Nirvana’s “Smells Like Teen Spirit” with Benjamin’s vocoder vocal.

Glasper and Lupe Fiasco (whose recent gig together at the Blue Note Club in New York became a freestyle jam session when Kanye West and yasiin bey crashed the stage) co-wrote “Always Shine” which features Fiasco’s lyrical flow as well as a searing chorus sung by Bilal. On “Gonna Be Alright,” the R&B singer Ledisi highlights Glasper’s bright melodicism by writing new lyrics for his instrumental “F.T.B.” from the In My Element album.

The track “Ah Yeah” (a co-production with Glasper’s high school friend, the GRAMMY-winning producer Bryan-Michael Cox) is illustrative of the good fate that hung over the sessions. Glasper went to Atlanta to record with Musiq Soulchild at Cox’s studio. At a show the night before the session Glasper ran into singer Chrisette Michele and asked her to come by the studio as well the next day. The resulting duet is one of the album’s highlights.

Reflecting back, Glasper is rightly proud of Black Radio, but also humbled and grateful for the outpouring of support and talent that it took to bring the album into being. “Everyone just said yes, period, we’ll do it. It was smoother than I ever thought it would be to get all these great, amazing artists to come together and do this project.”
Career-wise, this creates a constant balancing act, and on occasion literally being double-booked, appearing with the Trio and the Experiment on the same night. Such is the storyline that emerges on Double-Booked, with conflicting voicemail messages from Terence Blanchard and Roots drummer Ahmir ?uestlove Thompson, each pulling for a different Glasper band.

“Most people, if they have different bands, they do separate albums,” says Glasper. “But I felt I’d be making more of a statement if I put it all on one joint.” The result, in essence, is a snapshot of Glasper’s life. “This is what I’m dealing with,” he continues. “It’s not like I play jazz but I also play hip-hop now and then. I’m in it, for real, both sides of the spectrum. That’s my life. A lot of people go in stages—they might focus on trio for a long time, then they change or whatever. My thing is both, all the time.”

The first six tracks on Double-Booked feature Glasper in Trio setting with longtime bassist Vicente Archer as well as drummer Chris Dave, who plays in Glasper’s Experiment band but recently came on board the Trio as well. “It’s hard to find that common thread in one cat,” Glasper enthuses. “Very few cats out there are extremely convincing in all genres of music. There’s always a wink-wink somewhere, like they play jazz really good but the hip-hop’s a little strange, or vice versa. Chris has both sides down on an even level, and he keeps on creating. He and Vicente used to play together with Kenny Garrett, so they have a history that made the linkup a lot easier. He knows the Chris-isms and Chris knows the Vicente-isms.”

As on In My Element, Glasper underlines the Trio’s hip-hop leanings with short fade-in interludes (“little Pete Rock-isms,” Glasper says) that function as short codas to some of the tunes. From the outset, with the lyrical flow and supple interaction of “No Worries,” one hears what Nate Chinen of The New York Times describes as “spongey, changeable adaptations of hip-hop rhythm tracks…Glasper himself plays as if he’s a living sample…in a kind of real-time loop.” “This is a little ditty I came up with when I was in London at a soundcheck,” Glasper recalls. “We played it that night at the show. I kept hearing people in London say ‘no worries,’ and that seemed like the title. It has a real positive, bright, ‘It’s ok’ vibe.”

“Downtime,” set mainly in 7/4, evokes a memory of Glasper looking out the window at the rain—“kind of like the ‘F.T.B.’ of this record, if you will,” Glasper says, referencing a standout track from In My Element. Both “Yes I’m Country (And That’s OK)” and “59 South,” meanwhile, touch upon Glasper’s hometown environment in Texas. The latter references a heavily trafficked highway in Houston, a cultural reference not unlike the Brooklyn Bridge in Glasper’s current home base, New York. “Yes I’m Country” prompts Glasper to explain: “I have a country swing when I play sometimes, and I like playing that way.” The vamp of the tune, an intriguing five-bar phrase, exemplifies the sort of off-kilter rapport that sets the Glasper Trio apart. “I love odd phrases that vamp,” he adds. “It brings a whole different feeling than a regular vamp.”

The Trio portion of Double-Booked culminates with an astonishing treatment of Thelonious Monk’s “Think of One.” In an ingenious and totally natural overlay, Glasper seizes an opportunity in last A section to quote Ahmad Jamal’s “Swahililand,” the chord progression that formed the basis of De La Soul’s 1996 hip-hop classic “Stakes Is High,” co-written by Glasper’s hero and friend, the late beatmaster J Dilla. “Monk and Dilla are both passed away, so when I play live I sometimes say they’re both probably in heaven, chillin’. Maybe they’re talking about this arrangement! I always wanted to mix a jazz joint with a hip-hop joint but make it dope, not contrived. Chris’s drumbeat is so crazy at the end, the hi-hat with the placement of the bass drum—you don’t get this on a jazz record, ever. That’s why I made it the last Trio tune, because it’s a perfect segue.”

From that point forward, we are firmly in Experiment-land, with Chris Dave remaining on drums—although the drum sound on this half of the album can be markedly different from the first. “4Eva,” a live excerpt featuring rap icon Mos Def, leads us straight into another world. “Butterfly” is originally from Thrust, Herbie Hancock’s 1974 landmark album. Hancock, as both a pianist and a genre-crossing innovator, is of course a huge influence on Glasper. “It just happens that every one of my records has a Herbie tune—it seems like I’m doing it on purpose,” Glasper says. “I’m not. But I had to put this on the record because it’s dope.” Casey Benjamin’s vocoder effects heighten the mystery of the melody, and a J Dilla beat called “F--- the Police” serves as a rhythmic foundation.

Benjamin’s arsenal of sonic effects is at the fore of “Festival,” colored by Glasper’s Fender Rhodes, taking wild, digressive turns over the course of 10 minutes—the Experiment sound at its most representative and expansive. “Casey has so many pedals, it’s a whole thing when he sets up, he has to go to the gig before us,” says Glasper with a laugh, noting that Benjamin is playing only alto saxophone and “nothing’s overdubbed.” A short transitional piece, “For You” by Benjamin and drummer Sameer Gupta, leads into “All Matter,” a striking, unclassifiable original by vocalist Bilal Oliver. Glasper offers: “You can really do this song in any situation, and it does stick with you. So pretty.” Derrick Hodge, the Experiment’s bassist, an accomplished composer as well as a top-shelf jazz and hip-hop sideman, contributes the final track, “Open Mind,” also featuring Bilal. It’s “a spiritual tune” in Glasper’s words, with additional textures and voice elements from turntablist Jahi Sundance, the son of alto saxophone great Oliver Lake.

Hailed by listeners and critics, Glasper has also garnered the respect of the toughest audience of all: musicians from across the jazz spectrum. In a May 2008 Blindfold Test for Down Beat magazine, a fellow pianist instantly identified Glasper and praised him as “a fantastic musician,” pinpointing characteristics of his unique style: “a harmonic maze, but also an insistent rhythm, certain turns and filigrees and ornaments, some of them sort of gospelish.” With Double-Booked, Glasper further develops all these elements and pulls them together in a new synthesis, continuing his ascent to the top ranks of modern jazz artistry.

My Media

Website: http://www.robertglasper.com
Instagram: robertglasper
YouTube Channel: http://www.youtube.com/channel/UCAa3V2vauKwyC8vTiUWiftQ

Click to Listen on Spotify

Spotify (album 1): http://open.spotify.com/album/1yqUCdbw73DpnHBVDwNa3X
Spotify (album 2): http://open.spotify.com/album/0DI27qIRQRFkXrMvHxj9yh
Spotify (album 3): http://open.spotify.com/album/7M4DuL9Z6JqcNapcOUTPNS
Spotify (album 4): http://open.spotify.com/album/77g5kcDy0ZiKzH2dWHbvK9
Spotify (album 5): http://open.spotify.com/album/62JcJAgTFI06FHviKCdrro
Spotify (album 6): http://https://open.spotify.com/album/4VWTfhCRysym3Ge7fE0i7F

Quotes, Notes & Etc. “It’s like you’re listening to an impromptu jam session, where everything and everyone is clicking on all cylinders… There’s no stopping Glasper, and thank goodness for that.”
- billboard

“Angling toward something new that makes use of an older model. It points to an ideal that’s organic, complex, more or less pop, more or less contemporary, and black-identified.”
- New York Times

“Robert Glasper heads down the fraught path of hip-hop jazz and gets it right… it feels like a blueprint forward.”
- Rolling Stone

“A model of versatility, open-mindedness and general good music appreciation; one of America’s premier black-music jam bands.”
- npr

“Robert Glasper’s energy is infectious… Intelligent, creative, and incredibly impassioned, the pianist is the ideal flag-bearer for the new jazz era.”
- Interview

“Robert Glasper is electrifying a music genre.”
- Washington Post

Clips

Robert Glasper Acoustic Trio - Featuring Vicente Archer and Justin Tyson with DJ Jahi Sundance
By Robert Glasper

11 views
Robert Glasper: J Dilla Tribute | Boiler Room NYC
By Robert Glasper

11 views
NPR Music Tiny Desk Concert
By Robert Glasper

47 views

If You Can't Stand the Heat

Where, Why & How of this Project

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles -- jungle and desert and dense urban centers -- both the equator and the Tropic of Capricorn. It absorbed over ten times the number of African slaves taken to the United States of America, and much of its aboriginal population was absorbed into the general population-at-large. Its people have lived under oligarchy, plutocracy, dictatorships and massive corruption, with elements of these still strongly entrenched today.

But!

Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of -- or perhaps because of -- the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

THE MATRIX BEGAN IN BAHIA, GROUND ZERO FOR BRAZIL'S SUN-CARONA-VIBRANT CULTURE

⇒ ...rooted in a region called the Recôncavo, analogous in Brazil to the Mississippi Delta in the United States.

IT REACHES FROM BRAZIL TO CUBA TO BROOKLYN TO BERLIN TO TOKYO TO TIMBUKTU

⇒ To wherever people want to take it...

IT IS THE NEXT-STEP EVOLUTION OF A SPECIALTY RECORD SHOP

⇒ ...opened in Salvador to showcase magisterial musicians almost completely unknown to the world...many of them living in poverty or close to it and unable to avail themselves of traditional (and costly) means of publicizing.

PRE-BRAZIL — IN NEW YORK CITY — WE "RESCUED" UNPAID ROYALTIES FOR PERFORMERS & COMPOSERS INCLUDING:

⇒ Aretha Franklin, Barbra Streisand, Led Zeppelin, Philip Glass, Mongo Santamaria, Airto Moreira, Gilberto Gil, Astrud Gilberto, Jim Hall, Taj Mahal, Robb Royer of Bread, Speedo & the Cadillacs, and many more! With Speedo's (Earl Carroll) amazing story (kid singing on the streetcorners of Harlem to doo-wop fame to working as a beloved school janitor) I learned (as Quincy Jones had figured out decades before) that greatness and fame are completely independent. The wave repeated here in Brazil with Raimundo Sodré, who went from zero to national fame and back to zero.

HENCE THE (so far world's only) SMALL WORLD CURATION NETWORK...

⇒ A wave of Exu's cyberwand opening pathways allowing ANY ARTIST — FAMOUS OR NOT — in ANY FIELD — in ANY PLACE in the world — to potentially be reached by ANYBODY from ANYWHERE (Exu -- eh-SHOO -- is the Afro-Brazilian deity responsible for opening pathways).

BY WHAT WIZARDRY?

⇒ We've all heard of six degrees of separation, more properly called a small world network. Within six or so steps we can move through a chain of people knowing other people to just about anybody on the planet.

SIMPLY CHANGE "KNOW" TO "RECOMMEND"

⇒ In exactly the same way — although the number of steps might vary — we can move through chains of ARTISTS CURATING ARTISTS to to just about any artist on the planet.

LIKE THIS...

⇒ From Quincy Jones we access one of his protégés, stellar young Cuban pianist Alfredo Rodriguez. From Alfredo Rodriguez we access a fabulous multinstrumentalist Alfredo plays with, Munir Hossn. Two more steps and we've reached the above-mentioned Raimundo Sodré, formerly virtually unreachable in Bahia...

Raimundo Sodré Now

Dengo

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DICTATED SILENCE

⇒ Sodré's meteoric major-label career was crushed by the Brazilian dictatorship years ago and he was forced to flee Brazil under threat of death...into a 19 year exile. He became almost impossible to find and hear, even after returning to Brazil.

MUSIC FALLS LIKE RAIN

⇒ But now lines of everbranching interlinked recommendations rise from Bahia to form a (small world) network rounding the planet like the arboreal canopy of a vast Amazonian rainforest. When the dictatorship ground Sodré into the dust, they unwittingly planted a seed.

IS THE MATRIX AN ALTERNATE REALITY?

⇒ Only if your reality has been defined by corporate mass media. The original meaning of "matrix" is "source", from "mater", Latin for "mother". We're real mothers for ya!

DOES THE MATRIX WATCH YOU?

⇒ Zero surreptitious tracking, data mining and data brokerage per Cambridge Analytica, Facebook, et al.