Robert Glasper Quotes

I grew up in church. That's how most young African American musicians learn how to perform. You could be six years old and playing organ or drums in front of thousands or hundreds of people.

I think the people who are saying jazz has to sound a particular way, or "what you're doing isn't jazz," are just scared because they can't do it. A lot of them just aren't talented enough to do anything new, honestly. It's the people who are talented enough and who have the open mind and who are forward-thinkers are the ones who are doing something new. You tend to hate on what you can't produce.

You’ve got to be uncomfortable and rise to different occasions in order to become your best. No one is born a hero, but things happen and your response makes you a hero. It’s instinctual, it’s something that you may not even realize is there.

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

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

Once I started getting mainstream people to my shows, I realized we were taking too many solos, and they were too long. I started gauging when people were going on their iPhones.

I think there's beauty in repetition. And that's part of my culture and African culture as well: repeated things, mantra. It's spiritual, it's meditation, it's Buddhism, it's praying, it's all these things.

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.

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.

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.

Jazz is a state of mind. There's no boundaries.

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

Experiment is actually doing the art. That's the experiment and then you get to experience the experiment.

I think we're an inspiration to young people, to know they can be honest and not run away from influences that are not jazz. We're definitely breeding a new wave of jazz, for real.

It's the repetitive thing that brings space. That's one of the things I love secretly about hip-hop. Jazz doesn't have that element. It changes every bar, nothing is ever the same.

Instead of hearing, "Oh, he's good," I'd rather hear, "Wow, you changed my feelings today, you made me feel different."

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.

It came from my mother. She was a singer, and literally every day of the week she sang at a different club in a different genre of music: country, R&B clubs, jazz clubs, church on Sunday morning where she was the music director, pop hits, soft rock. I grew up listening to all this music, so it was never one thing for me.

It's funny, now that we have Twitter and Facebook and stuff, you can really see how you affect fans. Before all that, fans couldn't tell you exactly how they feel, unless they came up after a show, and even then you can't stand there and talk to everybody in the audience. So it's nice to see people tweet me and say, "Your music has changed my life," or "I had my baby to your music," or "I got married to your music." I've heard so many things, and it's amazing to hear people's stories and how you affect their life.

"Cannonball Adderley said, 'First 20 minutes we'll jazz out, then the last hour it's gonna be songs that people paid to see.' Which is why he was driving a Rolls-Royce."

If I was a singer who won those Grammys, I'd be gracing all the magazine covers... I barely got asked to do an interview.

For the most part, 99 percent of jazz is boring; you've heard it before. People aren't doing anything creative that's extremely modern. They tend to always be like "Let's do a tribute to Miles Davis!" All the new albums are tributes to history. It becomes too much at a certain point, it leaves us waving like "Hello? I'm alive, I'm here!" You know? So I really do feel like it needs some spice, it needs to be relevant to today's times, today's people, today's sound.

A lot of people in the jazz community are looking at how much notoriety we're getting. And we're an inspiration to a lot of young people, because now there's something new they can aim for that's in their grasp. Because a lot of times when you attend a jazz college it's all about the history, none of the teachers there are forward-thinking, for the most part, so they don't teach you how to be yourself and embrace the music around you.

Sometimes I'll write a song first and then I'm like, "Oh this person will be great on this song." But there are some artists I know what want, like off the top I knew I wanted Brandy and Faith Evans. Their music is like the soundtrack to my life, so it was a personal thing for me. So once they said yes, I wrote songs specifically for them.

I think there's good music out there. I just think that radio stations don't play it.

Ive heard some people say that Im selling out, but Im not. If I hadnt done Black Radio, and just kept on doing just piano trio stuff, I wouldnt be honest with myself; Id be doing it to please other people. That would be selling out.

When I hear the words jazz pianist, that just means I have the skills to do most things. Because to be a jazz pianist, even to be a bad jazz pianist, you have to be pretty good.

I've gotten bored with jazz to the point where I wouldn't mind something bad happening. Slapping hurts, but at some point it'll wake you up. I feel like jazz needs a big-ass slap.

Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.

A lot of times, jazz musicians try to educate people. What other genre does that?

That's a skill that I'm proud of: to be able to be a jazz musician and go a bit crazy sometimes and other times be able to pull it all in and lay it down like a track.

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

My fan base is extremely random. It's the 14-year-old white kid sitting next to your auntie from St. Luke's Baptist Church, to the 20-year-old Black girl who probably would go to a Rihanna concert, but she's coming to my show.