tunin’ in to ‘black radio’ with the robert glasper · pdf filewispy vocals...

TUNIN IN TO BLACK RADIO WITH THE ROBERT GLASPER EXPERIMENT
Written by Charles WaringMonday, 27 February 2012 08:03 -
Some listeners know him as an up-and-coming New York-based jazz pianist but on his thirdBlue Note CD, 2010's critically-lauded 'Double Booked' Robert Glasper demonstrated hisversatility by devoting the second half of the album to exploring state-of-the-art contemporaryurban music. Now, in 2012, the genial, laid-back, keyboard maestro is back with his fourth BlueNote long player, an impressive opus called 'Black Radio,' which represents his first full-length foray into the realms of R&B and hip-hop.
Intended as a showcase for the keyboard player's Experiment band, 'Black Radio' is aglistening, star-studded affair, featuring substantial contributions from singers Erykah Badu,Lalah Hathaway, Bilal, Ledisi, Musiq Soulchild and Mint Condition's front man, Stokley Williams,as well as cameos from rappers Mos Def, Lupe Fiasco and Shafiq Husayn. Glasper's choice ofmaterial, too, reflects his wide and eclectic taste; ranging from Mongo Santamaria's jazzstandard 'Afro Blue' (beautifully rendered by a superb Glasper arrangement that spotlights the
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wispy vocals of Erykah Badu) to a lush reading of Sade's 'Cherish The Day (with LalahHathaway guesting) and jazzy R&B retoolings of rock classics (namely David Bowie's 'Letter ToHermione' and Nirvana's grunge anthem, 'Smells Like Teen Spirit'). It's unequivocally an albumthat shows Glasper's talent in a vastly different light. It might not please diehard jazz fans whowere expecting another piano trio record but its accessibility will certainly deliver his music toanother and potentially younger and larger - audience.
Recently, Texas-born Glasper ventured to the UK for a handful of gigs and also to undertakesome promotional work in aid of the new album. While he was here he talked at length to SJF'sCharles Waring. Amiable, laidback and laughing a lot, he revealed how a few stiff drinksloosened him up in the studio to get the relaxed vibe he was seeking for 'Black Radio'...
What's the background story to 'Black Radio'?
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Basically I wanted to do something that would cross over into the mainstream very well andsince jazz has no mainstream appeal really I wanted to change that up and use some of myfriends that worked in the mainstream and try to make that bridge happen. To me this record'snot a real jazz record because it has a lot of different elements in it. When you listen to it, itdoesn't scream jazz so it's just like a bunch of influences on one record. I figured that this was anice way for me to record with people I love or people I've recorded with or have done showswith through the years. It's something that is crossover and will give the mainstream peoplesome mainstream attention.
Your previous album, 'Double Booked,' had a second-half that was similar in style to thisnew record. Did the success of that prompt you to develop this style even further?
Well, yeah, that's because my purpose was to do half and half: the first half trio, and the secondhalf with my Experiment band just to give people a glimpse of the Experiment band and then dothe next album all Experiment. I just wanted to enter in it gradually - I didn't want to all of asudden totally do Experiment.
Your new album has R&B and hip-hop influences. In what way has hip-hop influencedyour music?
Oh, it's influenced me a lot. In the way I approach playing, the changes and playing chords. Iplay things like a sample and I even loop like a sample. I'll feel something and all of a suddenjust stay there and loop it around and I love that.
When you were growing up, did you listen to both jazz and hip-hop?
Yeah, I listened to a whole lot of stuff because my mother, she was a musician, a singer andpiano player. She was into all kinds of music so she passed that on to me.
What would you say to people who don't get the marriage between jazz and hip-hop?
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Because some people don't, do they?
They don't but that's fine. You don't necessarily have to get it but just like what you hear or notlike it - just get a chance to hear it. That's my campaign right now, just trying to be heard andmost jazz musicians aren't heard by the mainstream in anything. You have to be pretty much ajazz head to hear jazz and read about jazz in real jazz magazines.
Have you encountered resistance to your fusion of jazz with R&B by purists?
Not really and not to my face anyway. I've never heard it like that 'cos I think I did it correctly. Ithink I solidified myself as a jazz pianist first with my records so I don't get that much flak withthat. If I had come out with this kind of album earlier on in my career then I think would have. Ithink I've got respect from musicians and the critics - every year I was 'Downbeat's' pianist ofthe year or best up-and-coming pianist - so I think I've gotten enough credentials to win theirtrust.
In terms of what you've done before, was this album very different in the way that yourecorded it in the studio? Did you do any overdubs?
No, I don't really do overdubs. On my last record ('Double Booked') there were no overdubs. Istated it on the liner notes because a lot of stuff sounds like it is over-dubbed. Mostly you hearthe music as it was put down (on to tape).
You really capture a vibe don't you?
Yeah, I try to. I try to do as much as possible to capture a vibe. I try and record mostly at nightbecause that is when you mostly play music. Some people do the total opposite of what they'reused to doing which is why they feel awkward in the studio. People go in there in the morningand record all through the day and their body's not used to that...or being sober (Laughsheartily).
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So do you like a drop of something in the studio then?
Yeah, exactly, man. (Laughs). I'll be having bottles of liquor and we'll be trying to record. We
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usually start recording in the midday so that by the time you're really into it, it's night time. Youhave some liquor and you treat it (the recording session) like it's a jazz club so it feels morenatural that way.
What's your favourite drink then when you're recording?
Oh, I'm a vodka guy and a wine guy. White wine or vodka. One or the two.
Well, it's certainly inspired this new album. I love the version of 'Afro Blue' that you havedone.
We were drinking white wine when we did that, me and Erykah (Laughs).
It was done live then that track?
Actually, that track we didn't do live with her at the same time because she was on tour. So theonly way to make it happen was we recorded the track first and then I met up with her in NewYork, a month later, in the studio. She recorded her vocal there and then I put acoustic pianoafter her vocal.
What's Erykah Badu like to work with?
Oh man, she is so great, so great. She's very easy to work with and very open to suggestions.She was a joy to work with: a beautiful person.
Lalah Hathaway joins you on a remake of Sade's 'Cherish The Day.' How did thatcollaboration come about?
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She was our special guest last February at the Blue Note jazz club. I just chose 'Cherish TheDay'. For some reason I heard that in my head.
Is it one of your favourite tracks?
What? 'Cherish The Day'? No. Don't get me wrong, I like it but for some reason we were tryingto choose songs for Lalah to do at the Blue Note and that song just popped into my headbecause for some reason I heard her there. I've always liked the tune and so when we did it liveat the Blue Note I said, "oh, by the way, would you mind being on my record? And also, wouldyou mind singing 'Cherish The Day'?" She was cool with it.
She's got an amazing voice, hasn't she?
Oh man, totally, it's ridiculous. She's definitely one of my favourite singers.
Another cover version on the album and an unusual one is your choice of David Bowie's'Letter To Hermione.' How did that come about?
I heard that one time and I fell in love with it. A friend of mine actually gave it to me and put it onmy computer a long time ago. I never listened to it and it was just there and I just ran across itrandomly going through my computer a few weeks before the recording. I listened to it and Ithought "oh shit," and automatically heard Bilal on it in my mind. David Bowie just sounded sohonest on that and it sounded like he really went through that. He really portrayed that song. It'snot perfect but I love that. It's just a vibe that's there so I really wanted to do that, because of thefact that it was obscure and a lot of people don't know it and because it's so beautiful.
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You've worked a lot with Bilal and you've definitely got a chemistry when you worktogether. What qualities does he have as a singer that you like?

tunin’ in to ‘black radio’ with the robert glasper · pdf filewispy vocals...

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