Concert Review: Robert Glasper Experiment
November 4, 2019
On Tuesday, February 28, 2012 The Robert Glasper Experiment released their first, full length album together, Black Radio. Black Radio served as an exploration of the many layers of Black music and its various iterations, covering everything from Hip-Hop, to traditional R&B, Rock, and of course, Jazz. Stylistically, the album was a departure from Glasper’s previous work with his acoustic trio. But, not totally surprising, given the direction he had been heading in based on his pervious album Double Booked.
The Experiment, comprised of pianist, Robert Glasper, bassist, Derrick Hodge, drummer, Chris Dave, and saxophonist/lead vocalist, Casey Benjamin, had been playing together for a few years prior to the release of Black Radio. Each musician contributing a unique element to the band’s overall sound - Chris Dave’s impeccable sense of time and off kilter rhythmic patterns, Casey Benjamin’s melodic ear and blazing saxophone solos, Derrick Hodge’s low end presence, and of course Robert Glasper’s patented style of playing and compositional leanings - all of which came to develop into a sound that would define a generation of artists and musicians.
The following year, in 2013, Robert Glasper would earn his first Grammy Award, winning Best R&B Album for Black Radio, introducing him to a larger audience outside the Jazz world (while also making people mad within the Jazz world - yikes). Though widely successful, shortly after the release of Black Radio, the band began breaking off, in particular, drummer Chris Dave was no longer a part of the immediate band and would not be a part of the tour for the album. And while Robert Glasper would continue to gain notoriety, and everyone wanting a piece of his sound, the other band members’ careers would grow as well, ultimately lessening the likelihood of the band performing together. So, finding the original Robert Glasper Experiment in concert together - at one time - has been nearly impossible over the past seven years. That is, until this year.
*****
When Robert Glasper’s 2nd annual residency was announced earlier this year I knew I had to find my way to New York. (I had every intention on going last year, but the month got away from me). For the residency, each week has a theme, with tributes to J Dilla, Mulgrew Miller, Miles Davis, and Roy Hargove, and features many of the bands Glasper is involved with including his trio, R+R=Now, and the Experiment. As always, you can expect a range of artists to stop by - everyone from Esperanza Spalding and Q-Tip, to Anderson .Paak and Nicholas Payton.
On Friday, November 1st, I got the chance to see the original Robert Glasper Experiment (with guitarist Isaiah Sharkey!) in concert at New York City’s Blue Note Jazz Club for the final weekend of his monthlong residency.
Opening the night, the Experiment started with Derrick Hodge playing a single syncopated note, immediately capturing the room. As Hodge continued to play, Casey Benjamin slowly began singing the lyrics to Cherish the Day, a Sade cover from the band’s Black Radio album. Brilliantly, as Benjamin sang the verse and chorus, the band maintained the single note tonal center, then slowly built into the chord progression, and crescendoing into Benjamin’s signature saxophone solo. And right when it seemed like the song reached its climax - Robert Glasper did the most Robert Glasper thing and completely changed the syncopation in the middle of Benjamin’s solo, and no one missed a beat.
Transitioning from Cherish The Day, Robert Glasper played a brief piano solo, moving into No One Like You. After finishing the first verse Chris Dave took a drum solo, but that didn’t last long as it quickly turned into a staring contest/comedy routine between he and Robert Glasper. Then, it got really interesting. With a mallet one hand, Chris Dave starting striking Derrick Hodge’s bass (as Hodge held down the notes) and playing the drums with his other hand. And when it seemed like the song had been forgotten about, they seamlessly transitioned back into No One Like You.
One of my favorite moments during the show - and every show Derrick Hodge is involved in - is when Derrick Hodge took his solo. Whether a massive amphitheater, like Hollywood Bowl, or the tightly packed Blue Note Jazz Club, when Hodge plays, it immediately causes everyone to listen. It’s not necessarily about the licks (though, they’re there), it’s not necessarily about his dexterity (though, that’s there too), but there’s a feeling of honesty and truth flowing from him. Following Hodge’s solo, the band transitioned to Glasper’s original, Gonna Be Alright (F.T.B).
Coming out of Gonna Be Alright (F.T.B.), guitarist, one of my personal favorites, Isaiah Sharkey took an impressive solo (like really impressive - and makes me question how he did some of the things he did), running through a range of songs that included traditional gospel hymns to standards like All The Things You Are, and ultimately landing at The Lady in my Life, done in part as a duet between him and Casey Benjamin. As the band filled in, The Lady in my Life slowly morphed Floetry’s, Say Yes, which then turned into a full throttle cover of Herbie Hancock’s Come Running to Me, which turned into Slum Village’s Get Dis Money - by far the most impressive stretch of songs from the night. I lost my mind and I’m not quite sure how they did it, but they did.
A Robert Glasper show wouldn’t be complete without someone stopping by. The night before it was Q-Tip and Mos Def. On this night? Norah Jones joined the band to do their song Let It Ride for which she’s featured! Closing out the night, the band began by playing Mobb Deep’s Shook Ones, Pt. II, which slowly transitioned into a powerful cover of Nirvana’s Smells Like Teen Spirit.
Leaving the show, I couldn’t help but question, how somebody could figure out a way to make Mobb Deep and Nirvana fit together? Michael Jackson and Floetry? And in response, Glasper’s body of work has spoken for itself - while some quibble over the demarcation of genre, Glasper’s music proves a point we all should realize: the line between genres is merely a construction of our imagination. The seemingly disparate and strange becomes strikingly familiar in Glasper’s hands.
The breadth of music, the chemistry amongst the band, and the way in which they flowed with ease from song to song was truly remarkable. And more than anything else, you can tell they enjoy spending time with each other, which made the musical experience even better. Who knows if the Experiment will ever do anything together again, but just for this night I’m glad they were back together, and I could witness it.
