(Gonna Be Alright), which is an instrumental on Glasper’s jazz album In My Element, before it underwent a vocal makeover on his Grammy-winning Black Radio CD. That mellow dose of neo soul, from Glasper’s most recent album Black Radio 2, is followed by some groove-laden improv simply entitled NPR Tiny Desk Jam. This performance begins with Trust, which features vocalist Marsha Ambrosius, who was half of defunct duo Floetry.
ROBERT GLASPER IN MY ELEMENT RAPIDSHARE FREE
Not only can fans enjoy a mini concert from the comfort of their living rooms, but they’re then free to download the gig and play it again at their leisure. Just remember: all great radio hosts have a signature signoff.Courtesy of NPR, you can enjoy a mini concert with the Blue Note jazz pianist from the comfort of your living roomīlue Note jazz pianist Robert Glasper makes a welcomed appearance on National Public Radio’s Tiny Desk Concert series, which has in the past featured slightly better known acts such as Suzanne Vega and John Legend. If you wanna hear the latest about what we’re up to, you can keep up with our show on Twitter, Facebook, and YouTube. Our thanks to The Go! Team and to their label, Memphis Industries, for letting us use it all these years. Our theme song is by the band The Go! Team. Our interstitial music is by Dan Wally, also known as DJW.
We get help from Casey O’Brien and Kristen Bennett. Jesus Ambrosio and Jordan Kauwling are our associate producers. And only two days later, when the road in front of my house was blocked by an enormous crew cab pickup truck, she screamed, “Hey, get out of my way! I’m biking here!” Our show is produced by speaking into microphones. Bullseye is created from the homes of me and the staff of Maximum Fun, in and around greater Los Angeles, California-where just this very week, my daughter learned to ride a bike. That’s the end of another episode of Bullseye. That’s what really gravitated me towards his music. You’re just in the middle like, “What’s happening?” Then there’s the melodic content of it, where he’s one of the most melodic producers I know. High hat’s kind of in the middle doing something. Bass drum would be a little late, or a base drum would be a little early, snare be a little late. It wasn’t exactly on, but at the same time you can bob your head to it. But-where he laid everything was always like not right on, didn’t sound quantized. But he also played the drums in the way that many people weren’t hip to, didn’t play like, because he had this thing… people call it “behind the beat”, you know, all kind of stuff. “Oh, it sounds like somebody’s at the drums.” And that’s because he also played drums and so he understood the drums. Which is hard to do, ‘cause all the-everything made sense as far as sound-wise. And when you’re a person that pays attention to beats, you know, his high hat, kick, snare all came together and sounded like there was a person at the drums. Nobody else’s drums sound like his drums, because he sounded like… an actual drummer. So, I’m just literally doing what I think I’m-I’m just being honest with myself and doing music that I like to do, which is the music of now. You know what I mean?, he was always doing what he wanted to do. Or any of our great, great, great innovators. So, whoever these people are that are saying, “Well, jazz should stay here,” they must not like Miles Davis. That’s why I’m-Miles is somebody I admire, because he never stayed stagnant. He always had something different under him that let you know what year it was, ‘cause he was always searching to do the new stuff. That’s 1964.” You know, he always changed with the times. Aah, that’s-you know- Miles Around the World. I could tell you, “Oh, that’s Birth of the Cool. I could tell you what year most Miles Davis records are-or at least what decade. When you put on a-when you put on any Miles Davis album, you’ll know the year. When you put on a record of mine in 2012, you’re gonna know the year. So, I’m just doing what it’s supposed to do. It always-you know, it always morphed into other things. It always moved, it always expanded, it always changed. Like, I wanna-I wanna meet that person, because jazz to begin with never did that. And I’m trying to figure out what person said, “You know what? Let’s stop it right here.” And it should never just stop growing. Jazz shouldn’t expand!” All it’s ever done was expand! That’s all it did. And who said that? Who said, “Hey, wait a minute.