13-11-2013, 20:54
enters the Billboard chart this week at #16
allmusic - gives it 2.4 of 3.0
Grooveshark online listen
could go in soul or here
I'm sure they have their fans
won a Grammy last year
just not my thing
![[Image: MI0003333583.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_400/MI0003/333/MI0003333583.jpg?partner=allrovi.com)
Bio - from allmusic
The Robert Glasper Experiment is a quartet centered around jazz pianist Robert Glasper, and originally featuring bassist Derrick Hodge, drummer
Chris Dave (from the pianist's acoustic trio), and Casey Benjamin on saxes and vocoder. They made their debut on one half of Glasper's two-disc
Double Booked for Blue Note in 2009. While the first half featured Glasper's acoustic trio, the Experiment contrasted on the other,
incorporating elements of neo-soul, hip-hop, and jazz-funk into its sound. The Robert Glasper Experiment is also open to working with vocalists.
On its second CD -- and first stand-alone effort -- Black Radio, the group worked with everyone from vocalists Bilal, Ledisi, Erykah Badu, and
Lalah Hathaway to rappers Mos Def, Lupe Fiasco, and Shafiq Husayn, to name a few. Black Radio was issued in February of 2012, also on Blue Note.
In 2013, The Robert Glasper Experiment (now including Hodge and Benjamin with drummer Mark Colenburg) returned with their equally star-studded
sophomore album, Black Radio 2.
![[Image: MI0003667612.jpg?partner=allrovi.com]](http://cps-static.rovicorp.com/3/JPG_400/MI0003/667/MI0003667612.jpg?partner=allrovi.com)
Album Review - from allmusic
On Black Radio 2, the Robert Glasper Experiment attempts the near impossible: create a sequel that delivers fully on the promise of its
groundbreaking, Grammy-winning predecessor. Glasper's group -- bassist Derrick Hodge, Casey Benjamin on vocoder and synth, and drummer Mark
Colenburg -- again enlists a stellar cast of vocalists. Instead of relying on covers, this set is almost entirely comprised of originals. There
is an organic feel as well: there are no programmed loops on the record; everything was played live. Standout "I Stand Alone" juxtaposes hip-hop
and pop as Common raps about growing up in Chicago, with a sung refrain by fellow Illinoisian Patrick Stump of Fall Out Boy. Michael Erik Dyson
adds an inspiring spoken word outro. The set's first single, "Calls," features vocals by Jill Scott. Itâs a dreamy, repetitive, nocturnal, neo-
soul groover with Glasper's Rhodes and Benjamin's synths sparkling above the clipped rhythm. The RGE weds neo-soul to hip-hop to very fluid jazz
on "Worries" with Dwele. The popping snare and toms are accented by Glasper's acoustic piano and a bumping, bubbling bassline from Hodge, as the
vocalist alternately sings and raps. Anthony Hamilton offers an exquisite, deeply moving vocal on "Yet to Find," a tune that weds adult
contemporary R&B to modern gospel seamlessly and convincingly. Faith Evans underscores the pop/R&B notion on "You Own Me," a track illustrated
by Glasper's crystalline middle-register piano, Benjamin's winding, circular synth line, and Colenburg's ticking, in-the-pocket hi-hat. The
set's most bracing cut is "Let It Ride." It was written by Glasper and Munsinah, and driven by Colenburg's dazzling breakbeat snare, which is so
accurate it could be a loop. It's mixed far above the acoustic piano vamp, an atmospheric Rhodes, layered synths, and a sparse, seductive
bassline. Norah Jones' slippery, slurry, vocal phrasing rises over the top, making the track an expansive, syncopated meld of dubstep, jazz, and
pop. The set closer is a cover of Stevie Wonder's "Jesus Children." Introduced by the RGE in a nearly modal mélange of acoustic piano, electric
bass, and skittering snare, vocalist Lalah Hathaway finds the melody and adds her signature utterance, which is equal parts gospel, old-school
soul, and bluesy jazz. She trades verses with Malcolm Jamal Warner, who delivers a searing, spoken tribute to the victims of the Sandy Hook
Elementary shooting, thereby exiting the set on a poignant note. Black Radio 2 is much more subtle than its predecessor. While it's true that it
possesses fewer standout performances, it's wholly consistent, and on some level, it's braver for relying on original material to carry it. It
requires more listening to appreciate fully. Taken as a whole, however, it serves and fulfills the role of a sequel: the album deepens the
band's music-making aesthetic, and further establishes their sound not only as a signature, but even, perhaps, as its own genre.
first single:
[video=youtube;e6NjqujEy1o]http://www.youtube.com/watch?v=e6NjqujEy1o[/video]
Track Listing
1. Baby Tonight (Black Radio 2 Theme)
2. I Stand Alone
3. What Are We Doing
4. Calls
5. Worries
6. Trust
7. Yet to Find
8. You Own Me
9. Let It Ride
10. Persevere
11. Somebody Else
12. Jesus Children
allmusic - gives it 2.4 of 3.0
Grooveshark online listen
could go in soul or here
I'm sure they have their fans
won a Grammy last year
just not my thing
Bio - from allmusic
The Robert Glasper Experiment is a quartet centered around jazz pianist Robert Glasper, and originally featuring bassist Derrick Hodge, drummer
Chris Dave (from the pianist's acoustic trio), and Casey Benjamin on saxes and vocoder. They made their debut on one half of Glasper's two-disc
Double Booked for Blue Note in 2009. While the first half featured Glasper's acoustic trio, the Experiment contrasted on the other,
incorporating elements of neo-soul, hip-hop, and jazz-funk into its sound. The Robert Glasper Experiment is also open to working with vocalists.
On its second CD -- and first stand-alone effort -- Black Radio, the group worked with everyone from vocalists Bilal, Ledisi, Erykah Badu, and
Lalah Hathaway to rappers Mos Def, Lupe Fiasco, and Shafiq Husayn, to name a few. Black Radio was issued in February of 2012, also on Blue Note.
In 2013, The Robert Glasper Experiment (now including Hodge and Benjamin with drummer Mark Colenburg) returned with their equally star-studded
sophomore album, Black Radio 2.
Album Review - from allmusic
On Black Radio 2, the Robert Glasper Experiment attempts the near impossible: create a sequel that delivers fully on the promise of its
groundbreaking, Grammy-winning predecessor. Glasper's group -- bassist Derrick Hodge, Casey Benjamin on vocoder and synth, and drummer Mark
Colenburg -- again enlists a stellar cast of vocalists. Instead of relying on covers, this set is almost entirely comprised of originals. There
is an organic feel as well: there are no programmed loops on the record; everything was played live. Standout "I Stand Alone" juxtaposes hip-hop
and pop as Common raps about growing up in Chicago, with a sung refrain by fellow Illinoisian Patrick Stump of Fall Out Boy. Michael Erik Dyson
adds an inspiring spoken word outro. The set's first single, "Calls," features vocals by Jill Scott. Itâs a dreamy, repetitive, nocturnal, neo-
soul groover with Glasper's Rhodes and Benjamin's synths sparkling above the clipped rhythm. The RGE weds neo-soul to hip-hop to very fluid jazz
on "Worries" with Dwele. The popping snare and toms are accented by Glasper's acoustic piano and a bumping, bubbling bassline from Hodge, as the
vocalist alternately sings and raps. Anthony Hamilton offers an exquisite, deeply moving vocal on "Yet to Find," a tune that weds adult
contemporary R&B to modern gospel seamlessly and convincingly. Faith Evans underscores the pop/R&B notion on "You Own Me," a track illustrated
by Glasper's crystalline middle-register piano, Benjamin's winding, circular synth line, and Colenburg's ticking, in-the-pocket hi-hat. The
set's most bracing cut is "Let It Ride." It was written by Glasper and Munsinah, and driven by Colenburg's dazzling breakbeat snare, which is so
accurate it could be a loop. It's mixed far above the acoustic piano vamp, an atmospheric Rhodes, layered synths, and a sparse, seductive
bassline. Norah Jones' slippery, slurry, vocal phrasing rises over the top, making the track an expansive, syncopated meld of dubstep, jazz, and
pop. The set closer is a cover of Stevie Wonder's "Jesus Children." Introduced by the RGE in a nearly modal mélange of acoustic piano, electric
bass, and skittering snare, vocalist Lalah Hathaway finds the melody and adds her signature utterance, which is equal parts gospel, old-school
soul, and bluesy jazz. She trades verses with Malcolm Jamal Warner, who delivers a searing, spoken tribute to the victims of the Sandy Hook
Elementary shooting, thereby exiting the set on a poignant note. Black Radio 2 is much more subtle than its predecessor. While it's true that it
possesses fewer standout performances, it's wholly consistent, and on some level, it's braver for relying on original material to carry it. It
requires more listening to appreciate fully. Taken as a whole, however, it serves and fulfills the role of a sequel: the album deepens the
band's music-making aesthetic, and further establishes their sound not only as a signature, but even, perhaps, as its own genre.
first single:
[video=youtube;e6NjqujEy1o]http://www.youtube.com/watch?v=e6NjqujEy1o[/video]
Track Listing
1. Baby Tonight (Black Radio 2 Theme)
2. I Stand Alone
3. What Are We Doing
4. Calls
5. Worries
6. Trust
7. Yet to Find
8. You Own Me
9. Let It Ride
10. Persevere
11. Somebody Else
12. Jesus Children
