Robert Glasper

Black Radio, the title of the Robert Glasper Experiment's proper Blue Note debut, is a double signifier. There's the dictionary's definition: "the device in an aircraft that records technical data during a flight, used in case of accident to discover its cause." And there's Angelika Beener's in her liner essay. She defines Black Radio as "representative of the veracity of Black music" which has been "…emulated, envied and countlessly re-imagined by the rest of the world…." With jazz as its backbone, Glasper, drummer Chris Dave, bassist Derrick Hodge, and Casey Benjamin on reeds, winds, and vocoder, cued by the inspiration of black music's illustrious cultural past, try to carve out a creative place for its future…

Four months after winning his second Grammy Award in the R&B category for Black Radio 2, pianist Robert Glasper re-assembles the acoustic jazz trio that played on his first two Blue Note recordings…

“My whole career, everybody’s been saying my music is meditative,” Robert Glasper tells Apple Music. “People say they study to my music, they pray to my music, they do yoga to my music, they just zone out. People have wanted me to do this for a long time.” The Grammy Award-winning pianist and composer is talking about the direction of his latest album Let Go, a project he created in partnership with Apple Music with the express intention of helping listeners recalibrate mentally. “I wouldn't call it the ‘meditation project’ or nothing like that,” Glasper says.

Canvas is pianist Robert Glasper's second recording, and his first on Blue Note. He's joined by bassist Vincente Archer and drummer Damion Reid for the main portion of Canvas, while tenor Mark Turner and vocalist Bilal make two appearances each. Perhaps the first thing a listener might note of Glasper's style on the original, "Rise and Shine," is its rich, melodic flavor. While this lyricism alone would draw the listener in, it's Glasper's ability to develop new ideas as the piece progresses, adding complexity to his lyricism, that really recommends his approach. In the case of the title cut, Glasper and company keep the composition intriguing for nearly ten minutes. It's also nice on Canvas that both Archer and Reid match Glasper's adventurousness, providing an intricate net that both supports his solos and drives them onward.

Today, multi-Grammy and Emmy-winning artist and producer Robert Glasper releases a new holiday EP, In December. Featuring an esteemed roster of frequent collaborators—PJ Morton, Sevyn Streeter, Cynthia Ervo, Tarriona Tank Ball, Alex Isley, Andra Day, and The Baylor Project—the eight track project is an evocative and moving addition to Glasper’s critically lauded catalog. In December sees Glasper’s unique approach to contemporary R&B and jazz, encapsulated in his famed Black Radio series, applied to what is a sonically unique take on holiday music. This non-traditional holiday release brings a weight and musical funkiness to a genre and time of year that is often seeped in campy or classic holiday motifs. Speaking on "In December", Robert Glasper says, “I’m excited to drop my first holiday record. I hope it brings as much joy as I had making it. Sip some eggnog and enjoy.”

Robert Glasper Experiment - ArtScience (2016) {Blue Note 00602547970503}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 466 Mb | MP3 @320 -> 165 Mb
Full Artwork @ 600 dpi (jpg) -> 57 Mb | 5% repair rar
© 2016 Blue Note Records / Universal | 00602547970503
Jazz / Rhythm and Blues / Contemporary Jazz / Electric Jazz / Jazz Funk / Neo Soul / Hip Hop

After the unqualified critical, chart, sales, and Grammy successes of the Robert Glasper Experiment's two Black Radio albums, remixes, and singles, the need to explore was requisite. ArtScience is a reflection of the qualities and musical interests that brought this band together. Their seamless meld of contemporary jazz, hip-hop, neo-soul, pop, and rock has influenced a host of artists following in their wake. This album marks a new modus operandi: it's the first time the band has written and produced collectively. (Even the two covers here were arranged by the unit.) It's also a first in that there are no guest vocal cameos. The set was recorded in New Orleans over two weeks apart from the endless touring and hustling solo careers of its members.