Robert Glasper Quotes

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I do feel a responsibility because most people like me that are my age or younger, they don't quite make it over to the jazz side. They flirt with it, but they don't quite marry it.

I've heard some people say that I'm selling out, but I'm not. If I hadn't done 'Black Radio', and just kept on doing just piano trio stuff, I wouldn't be honest with myself; I'd be doing it to please other people. That would be selling out.

Jazz is like a big secret club. The mainstream media doesn't pay any attention to it; it's, like, 1 percent of the music market - no one cares. Why? Because the majority of jazz is old.

When I have to compete with John Coltrane and Miles Davis and Louie Armstrong on iTunes, which I'm doing now, that's a problem. That means that jazz is not being heard by younger audiences.

Your main radio stations, the stations that get the most listeners, don't play anything that has any kind of integrity to it.

I try to get the hip-hop aesthetic, most times without an MC. I don't use a rapper or a DJ to give it the hip-hop style; it's strictly the band that makes that music, which is a lot harder to do.

If you really dissect hip-hop you will find a whole lot of Charles Mingus, Ron Carter, Ahmad Jamal, a lot of classic jazz samples in there.

My first memories of life were in rehearsal; that's why I can sleep through anything.

Black people, we built America, and we gave it all of its pop culture and all of its great musical genres.

I want to remind people that black music is amazing. And there are all forms of it that we've forgotten, you know? Rock music is black music! Don't forget that's what it is.

People don't know that the very reason the police were made was to oversee slaves; they would be called overseers, and if a slave got out of line or tried to break away and escape, these were the people to hold them in and bring them back.

Everybody has a favorite song, but everybody don't have a favorite painting.

It's very rare that you get very old jazz lovers and super-young hip-hop lovers at the same exact show, when you think about it. Not many artists can do that.

Anybody who loves jazz has a little bit of snob in them.

If you got every single artist in the world in one room, and you put Miles on one side and Prince on the other side, those are the two people that everybody would be trying to get a glimpse of. And Michael Jackson would be the other one.

I feel like, paying homage to an artist, it's better to do something that's inspired by them - a new work that's inspired by them - versus another person saying they redid your song.

You have to go with the times. You're going to get left behind if you don't.

For a while, R&B was going out of style. It was kind of getting kicked to the side. The first year the R&B Album of the Year didn't get on the TV portion of the Grammys is when I got nominated.

I always tell people that, just to be a bad jazz musician, you have to be better than most musicians. The worst jazz musicians are normally better than most musicians, because you have to know so much.

I'm from the gospel world. I grew up playing in church.

'Black Radio' was pretty much a jam session.

Honestly, recording with Faith Evans blew me away.

You can see how different artists work, from writing to recording, just from being in the studio environment with them.

When music is crashing around us, when you hear the same five songs on the radio that aren't really saying much, we can always go back to great music. Great music always lives on.

The music is going to die if you don't tap into something that people today can relate to.

Everybody's not going to like jazz, let's just be honest about it. Everybody doesn't like everything. There's a disconnect in generations and some people just aren't going to feel that music.

There is a modern take on certain things you can do that, to me, is still jazz.

I was really a nerd, and I was really more of a jazz nerd. So when I had my chance to put on something, most of the time it was going to be jazz, or gospel, or something like that.

I feel like certain people think that certain styles of music will taint their jazz style.

I'm not really married to the craft of jazz - I'm married to me, and my style, and whatever I produce.

I started out playing traditional jazz, and I still do: I love standards, I love the music. But it must move on, and it must live and breathe, and continue to grow, and continue to change, and continue to mesh with other music - all that kind of stuff. Jazz can be on the playground too, you know.

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