The art of genre bending: jazz, as seen by robert glasper

By Grace Roberts

A recipient of multiple Grammys and an Artist in Residence at some of the music world’s most renowned institutions and festivals, Robert Glasper has revolutionized contemporary jazz. His infusion of funk and hip-hop with classic jazz bases, as well as his collaborations with big-name artists, have not only invited swarths of accolades, but have established Glasper as a musical innovator. Film scores, album features, and worldwide tours have added to the producer’s repertoire, earning him recognition for his flexibility and experimentation within musical disciplines. But, it is the Texas native’s remarkable soul shining through every project he touches that makes him stand out from other experimental artists.

Glasper grew up in jazz clubs instead of daycare; his mother, Kim Yvette Glasper, was a professional singer. Honing his sound in church, where he began to understand the complexities of harmonies and musical genres, Glasper began to experiment with sounds that were familiar to him, mixing gospel music with the jazz he had grown up with. He built skills as a pianist, becoming proficient in composing and producing the music that came most naturally to him. Glasper would go on to explore the intersection of genre and style throughout his career, but not without invariably coming back to basics: the jazz that inspired his first foray into music and art.

Studying at New York’s The New School, Glasper met and collaborated with a number of student musicians, studying and touring simultaneously. He acted as a sideman for the likes of Christian McBride and Roy Hargrove, jazz greats and essential industry connections for Glasper. He swiftly established his sound and his first album, Mood, in 2002, and continued to record with many of his established contacts and peers from The New School. The album was met with praise and many critics labeled Glasper as one of jazz’s most promising up-and-coming pianists, noting that his industry connections and collaborations made him one to keep an eye on as award season approached. Glasper encouraged the coexistence of class and contemporary sound in his subsequent two albums, Canvas and In My Element, which featured covers of artists like Duke Ellington and Radiohead. This fusion would become Glasper’s signature in every one of his creative endeavors.

In 2009, Glasper released Double-Booked, an album which featured two different bands, one being the group he formed with drummer Chris Dave, eclectic bassist Derrick Hodge and Casey Benjamin on saxes and vocoder. The band was dubbed the Robert Glasper Experiment, colloquially known as The Experiment. This group would go on to perform and produce the album Black Radio, arguably the most famous of his projects and securing a Grammy in 2013 for Best R&B Album. Funky, with unique beat structure and unexpected vocals, Black Radio set the stage for what jazz and R&B had the potential to become, pushing the boundaries of expected genre.

The following year, The Experiment (along with some new members) released their sophomore album, Black Radio 2. The album also features a plethora of collaborators and features, earning yet another Grammy nomination and winning Best Traditional R&B performance for their cover of Stevie Wonder’s ‘Jesus Children of America.’ Big names like Norah Jones and Snoop Dogg made appearances on Black Radio 2, and the album featured artists that spanned both genre and decade. 

Having been inspired and influenced by Miles Davis since his musical beginnings, Glasper signed on to work as an arranger, producer, and composer for Miles Ahead, the 2015 biopic on Davis. His debut in the film industry, his work on reinterpretations of classic Davis pieces and several originals garnered him yet another Grammy win for Best Compilation Soundtrack for Visual Media. His tributes to Miles Davis continued with his production of the album Everything’s Beautiful. Often, covers and re-interpretations are viewed with heightened scrutiny — why change something already recognized as “the best” — but there is a unique sensibility in Glasper’s approach and his mastery in the partnership between old and modern, giving new life to Davis’ work while honoring his legacy to the highest degree.

On a worldwide scale, Glasper’s impact in the music industry extends beyond features on Kendrick Lamar albums and Miles Davis tributes. For instance, Glasper recently began his residency at Blue Note Jazz Club in New York City, where he spends a month each year playing unique shows. Crafting programs based around tributes and featuring guests in the jazz world and greater music industry, this residency is one his biggest accomplishments. Other artistic residencies include the North Sea Jazz Festival, and the John F. Kennedy Center for the Performing Arts, each prestigious institutions. The scope of Glasper’s outreach and publicity is an integral element of his popularity and legacy, whether that be through sold-out performances at his residencies or annual charity performances.

Most recently, 2022 saw The Experiment produce and release Black Radio 3, bursting with new sound and influence, and featuring in-demand artists like H.E.R and Gregory Porter. Produced with a dream-like quality, this third masterpiece begins with poetry and moves from  confident hip hop to mellow R&B to a moving cover of ‘Everybody Wants to Rule the World.’ It is, in its entirety, a work of art.

The genius of the Black Radio albums is the sheer volume of voices and artists featured, and the fluidity of the sound. Rooted in jazz but experimenting with hip-hop, R&B, and rock & roll, the albums circumvent tradition. The albums are unique, of course, but they also pay tribute to the greats and to the history of jazz. Contemporary by all accounts, Glasper and his band have transformed what jazz and R&B look like today. Tracks like ‘Over (feat. Yebba)’ flaunt silky vocals and harmonies, while ‘Heaven’s Here (feat. Ant Clemons)’ feel more inspired by the R&B scene. If there’s anything Glasper is able to master, it’s the presence of heart and soul in his creations. Humanity feels tangible and present in every production.

The three Black Radio albums from The Experiment are some of my favorite modern jazz albums because they show a side of jazz and R&B previously unapproached in contemporary music. Recently released albums imbued with a jazzy vibe or reference to particularly well-known artists don’t quite compare to the scope of Glasper’s musical projects, which reach beyond genre without sacrificing quality or heart. His cultivated celebrity serves as a reminder that regardless of whether it’s a standalone piece or an album with a feature on every track, he is sure to stay true to that sense of community jazz has always provided.