![]() This was a fundamental change in jazz’s approach to rhythm and harmony, inspired ultimately by one person f-ing around on one drum machine. “This wasn’t some wikka-wikka turntable scratching, or a bunch of rappers rappity-rapping over chord changes. “Glasper knew that what he and his trio were doing was in some ways even harder to digest for the jazz community than what Herbie Hancock had done with ‘Future Shock’ in 1983,” writes Charnas. Glasper shifted his approach to playing soon thereafter.Īfter a set one night, Charnas reports, a New York jazz vet pulled Glasper aside and critiqued his band by saying, “the funk is not tight enough.” Charnas writes that when Glasper, as a hotshot Houston high school pianist also into rap, first heard Dilla’s work, he was shook. ![]() Among the fans was an ace New York-based piano prodigy named Robert Glasper. Though not planned, “Donuts” came out shortly after he was laid to rest, and with it a rush of attention that began the process of the producer’s posthumous ascendance. ![]()
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