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|:: Robert Glasper Experiment - ArtScience ::|
|::___________________________________________________________::|
|:: ::|
|:: Artist : Robert Glasper Experiment ::|
|:: Title : ArtScience ::|
|:: Label : Blue Note ::|
|:: Genre : Jazz ::|
|:: Source : CD (LP) ::|
|:: Size : 465.13MB ::|
|:: Encoder : FLAC 1.3.1 ::|
|:: Quality : 877 kbps avg / 44.1 kHz / 2 channels ::|
|:: Rel Date : 2016-12-21 ::|
|:: ::|
|:: ::|
|:: · T R A C K L I S T · ::|
|::___________________________________________________________::|
|:: ::|
|:: # _title_ _time_ ::|
|:: ::|
|:: 01 This Is Not Fear 3:18 ::|
|:: 02 Thinkin Bout You 3:12 ::|
|:: 03 Day To Day 5:24 ::|
|:: 04 No One Like You 9:18 ::|
|:: 05 You And Me 4:38 ::|
|:: 06 Tell Me A Bedtime Story 7:05 ::|
|:: 07 Find You 6:46 ::|
|:: 08 In My Mind 6:07 ::|
|:: 09 Hurry Slowly 5:36 ::|
|:: 10 Written In Stone 5:01 ::|
|:: 11 Let's Fall In Love 7:33 ::|
|:: 12 Human 6:36 ::|
|:: ───── ::|
|:: Total Time 70:34 ::|
|:: ::|
|:: ::|
|:: · R E L E A S E N O T E S · ::|
|::___________________________________________________________::|
|:: ::|
|:: After dominating the jazz charts, winning a couple R&B ::|
|:: Grammys, and recording with everyone from Erykah Badu ::|
|:: to Norah Jones to Snoop Dogg, what's next for a band ::|
|:: like the Robert Glasper Experiment? When the group's ::|
|:: leader scores a Miles Davis film, plays keys all over ::|
|:: albums from Kendrick LamarÆs To Pimp A Butterfly to ::|
|:: Anderson .PaakÆs Malibu to MaxwellÆs ::|
|:: blackSUMMERSÆnight, and is currently collaborating on ::|
|:: forthcoming albums from Herbie Hancock, Common, and Mac ::|
|:: Miller, what can you do to level up? "You do you," says ::|
|:: Glasper with a chuckle. "People need to hear what the ::|
|:: Experiment sounds like, just usùknow what our vibe is ::|
|:: and can be." ::|
|:: ::|
|:: On ArtScience, the Experiment sounds like a bit of ::|
|:: everything that's vibrant and challenging and great ::|
|:: about music, woven into a billowing fabric of jazz, ::|
|:: funk, soul, rock, hip-hop, blues, disco, electronic, ::|
|:: and popùif the Black Radio albums evoked the ::|
|:: crash-proof airplane "black box" in their title, this ::|
|:: one's a parachute carrying us to unimagined vistas. But ::|
|:: to fully understand what this quartet's accomplished, ::|
|:: you need to know some things. This is the first ::|
|:: Experiment LP where all members write and produce, and ::|
|:: the first with no guest vocalists. That means ::|
|:: everyoneùsax man and vocalist Casey Benjamin, bassist ::|
|:: Derrick Hodge, drummer Mark Colenburg, and Glasper ::|
|:: himselfùsings. It also means you're hearing the freest ::|
|:: version of the Experiment yet. ::|
|:: ::|
|:: That's by design, of course. "I wanted to do this ::|
|:: record in a place where we don't know a lot of people," ::|
|:: says Glasper. "In New York or LA, it'd end up being a ::|
|:: hang, so we locked ourselves in a studio in New Orleans ::|
|:: for two weeks and wrote the whole thing there. Our only ::|
|:: inspiration was: 'Fuck it. Let's do what we feel.'" ::|
|:: They ate good food, did good work, and threw a cheap, ::|
|:: intimate pop-up show for the heads. It was "like camp," ::|
|:: and with that intense focus, ArtScience became a thing ::|
|:: of huge breadth. ::|
|:: ::|
|:: There's Benjamin's disco-funk seduction "Day to Day," ::|
|:: and the Hodge-led "Find You," where drums snap like ::|
|:: firecrackers as moods and genres flit past rapidly. The ::|
|:: Colenburg co-write "In My Mind" marries cascades of ::|
|:: brass and Rhodes to melodies that keep shifting. ::|
|:: Glasper's own "Let's Fall in Love" offers minimal R&B ::|
|:: set to trap percussion and a syrupy groove, which ::|
|:: highlights something else: Even as the band slides in ::|
|:: and out of styles and eras, there's something perfectly ::|
|:: "now" about their use of Autotune, which grew from ::|
|:: Glasper's long-running affinity with the vocoder. ::|
|:: ::|
|:: An unintended theme arose too: relationshipsùthe ups, ::|
|:: the downs, and, especially, the part where you make ::|
|:: amends. "Thinkin Bout You" is a tribute to the ones who ::|
|:: stay home while the Experiment's touring. "You and Me" ::|
|:: is a bona fide slow jam. And "Hurry Slowly," swirls ::|
|:: Steely Dan, Stevie Wonder, and Radiohead into a slinky ::|
|:: tribute to love's odd time signatures. Their cover of ::|
|:: Human League's classic mea culpa "Human" fits the ::|
|:: theme. "We've all been there," Glasper laughs. ::|
|:: ::|
|:: Family and friends figure into ArtScience in other ways ::|
|:: too. One of the interludes features Glasper's son. ::|
|:: "He's speaking his mind," says the bandleader. "He was ::|
|:: 5 and the Michael Brown case came on the news and he ::|
|:: started going off." Indeed, the boy, unprompted, speaks ::|
|:: for a lot of us: "It's not fair! We should let other ::|
|:: people live! ... Let's try to make the polices better ::|
|:: ... like real polices that help. No gun shooting!" ::|
|:: Album opener "This Is Not Fear" comes from a similar ::|
|:: place. The Experiment was in New Orleans when they ::|
|:: heard about Yasiin Bey's arrest in South Africa, which ::|
|:: sparked a talk about how authorities treat black men. ::|
|:: For this one, they didn't need words. ::|
|:: ::|
|:: "It comes in on fast swing, then transcends into a beat ::|
|:: as you hear our voices going 'hmm-mmm,' like a hymnal," ::|
|:: says Glasper. "In other words, jazz into hip-hop is ::|
|:: then to now, and us singing spirituals to get through ::|
|:: some shit ain't nothing new." ::|
|:: ::|
|:: Balancing art and science is something Glasper's been ::|
|:: working at his entire careerùcutting that sheer musical ::|
|:: ability with the sort of songwriting that simply ::|
|:: resonates with the heart. Crossing over isn't easy, but ::|
|:: it's been his thing for as long as he can remember. His ::|
|:: mother was music director at their Houston church, ::|
|:: where Glasper would first play keys for a crowd. She ::|
|:: also sang jazz and blues at clubs by night, and brought ::|
|:: the child (he'd eventually accompany her). That mixture ::|
|:: became his sonic bedrock, and it went with him to the ::|
|:: city's esteemed High School for the Performing and ::|
|:: Visual Arts, and on to the New School for Jazz and ::|
|:: Contemporary Music in New York. By 2005, when Glasper ::|
|:: signed with Blue Note, he'd become an accomplished ::|
|:: sideman to Christian McBride, Kenny Garrett, Roy ::|
|:: Hargrove, and more. ::|
|:: ::|
|:: That's when he made the decision. "No more side gigs," ::|
|:: says Glasper. "I'll do my own thing in jazz, and if I ::|
|:: play for anyone else it'll be a different genre because ::|
|:: eventually I want to make albums in those genres." So ::|
|:: he worked as music director for Mos Def and Bilal, hit ::|
|:: the studio with Q-Tip, Kanye West, and Erykah Badu, and ::|
|:: did a world tour with Maxwell, all while releasing jazz ::|
|:: LPs that drew steady acclaim. His worlds merged on the ::|
|:: first full Experiment album, 2012's Black Radio, which ::|
|:: scored a Top Jazz Albums No. 1 and won the year's Best ::|
|:: R&B Album Grammy. The Experiment didn't just cross ::|
|:: over; they revitalized their genre. Black Radio 2 ::|
|:: (2013) brought even more thrilling cameos, and another ::|
|:: Grammy. ::|
|:: ::|
|:: In 2015, Glasper reset with Covered, recorded live in ::|
|:: Capitol Studios with his original acoustic trio ::|
|:: featuring bassist Vicente Archer and drummer Damion ::|
|:: Reid, but his choice in source material was key: John ::|
|:: Legend, Joni Mitchell, Radiohead, and Kendrick Lamar to ::|
|:: name a few. He also composed for Don CheadleÆs Miles ::|
|:: Ahead film, plus reinterpreted Davis' catalog on ::|
|:: Everything Is Beautiful, which came out earlier in ::|
|:: 2016. Which brings us back to the beginning. When ::|
|:: you've earned your bona fides, sure, it makes sense to ::|
|:: follow your muse. But along the way, with so many ::|
|:: potential paths to takeùunplugged or electric, guests ::|
|:: or no, jazz or hip-hop or R&B or fusionùhow does ::|
|:: Glasper always manage to take the listener on exactly ::|
|:: the right adventure for exactly the right moment? ::|
|:: ::|
|:: The answer, it turns out, is a little bit of art and a ::|
|:: little bit of science. "I feel like I lick my finger ::|
|:: and put it in the air, and see which way the wind is ::|
|:: blowing," he says. And when he gets a feel for what's ::|
|:: going on, he knows: "Hmm, that's what's needed in the ::|
|:: world right now." ::|
|:: ::|
|:: http://www.robertglasper.com ::|
|:: ::|
|:: ::|
|:: · G R O U P N E W S · ::|
|::___________________________________________________________::|
|:: ::|
|:: Wanna FLAC with us ? Ask around :) ::|
|:: ::|
|:: ::|
|:: · G R E E T I N G S · ::|
|::___________________________________________________________::|
|:: ::|
|:: N/A ::|
|:: ::|
|:: ::|
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