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美国国家公共电台 NPR Robert Glasper On How To Get More Young People Into Jazz

时间:2018-11-27 02:48:07

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ADRIAN BARTOS, HOST:

Hey, everyone. So this is our last show of Season 2, and as such, we need a little help from you, our audience. Please go to npr.org/podcastsurvey to take a quick survey about the show. It's going to help us learn more about our audience, so we can connect to more people like you. Again, that's npr.org/podcastsurvey.

ROBERT GARCIA, HOST:

What's up, everybody? Peace. Just heads up, there may be some strong language in this episode.

BARTOS: Ooh (ph) - some bad words.

GARCIA: (Laughter).

ROBERT GLASPER: You know when I met Dre? At my 40th birthday party. I walked into my 40th birthday party in LA with Dr. Dre.

BARTOS: (Laughter).

GARCIA: And this time the security guards let you in?

GLASPER: Nobody saw me. All they saw was Dre. I was like, it's my birthday.

(SOUNDBITE OF JAMES BROWN'S "CHASE")

BARTOS: Hey, everyone. This is Stretch Armstrong.

GARCIA: My name is Bobbito Garcia. Together, we are the hosts of WHAT'S GOOD WITH STRETCH & BOBBITO. This is our last episode of Season 2, Stretchy.

BARTOS: It is. The final - the final hurrah1.

GARCIA: Ah, le boo (ph). But we have a special guest - Robert Glasper, three-time Grammy Award winner, Emmy Award winner. I mean, he's probably going to win an Oscar and Tony (laughter) before this is said and done. He actually shares that strategy in this upcoming episode. Right?

(LAUGHTER)

BARTOS: Strategy.

GARCIA: He has a plan, yo. He has a plan.

BARTOS: His latest project is called R+R=NOW. And he is just one of the most connected dudes in jazz and hip-hop and bridges that gap beautifully. He hails from Houston, Texas, but has called New York his home since 1997. And in that time, he has collaborated2 with so many people that we have a shared history with.

GARCIA: Sure.

BARTOS: Like Common.

GARCIA: Q-Tip.

BARTOS: Bilal.

GARCIA: The Roots.

BARTOS: Yasiin Bey, aka Mos Def.

GARCIA: One-hundred percent. Stevie Wonder, Erykah Badu, who have both been guests.

BARTOS: Quincy Jones.

GARCIA: Oh-oh-oh (ph).

BARTOS: And on this show, like on a few others earlier in the season, we opened up the WHAT'S GOOD hotline and asked you, the listeners, to call up and tell us about your connection to jazz music.

GARCIA: Boom.

(SOUNDBITE OF MUSIC)

UNIDENTIFIED PERSON #1: I'll be honest with you, I'm still trying to figure out jazz music. I mean, that's the beauty, right?

UNIDENTIFIED PERSON #2: I was actually introduced to jazz, the first time, through "The Cosby Show." Dizzy Gillespie was on there, and I had to go and ask my dad, like, who is this guy and what does he do? I just took it from there, and "Cosby Show" just opened my eyes.

UNIDENTIFIED PERSON #3: When I was about 3 or 4, my mother used to play this guy named Al Jarreau. And she would be watering her plants and playing Al Jarreau. And that's the first memory I have.

UNIDENTIFIED PERSON #4: So I actually played jazz saxophone when I was, like, 9 until I was about 19. Jazz was really the first music I actually did understand. And I think that laid the foundation for everything else.

UNIDENTIFIED PERSON #5: Pete Rock introduced me to jazz, without me even really realizing what was going on. I was an elementary school kid. I started learning those jazz songs that Pete Rock sampled from, and I've been a jazz lover ever since.

UNIDENTIFIED PERSON #6: I'm actually so glad you got Robert for this episode because he was and still is somewhat of a gateway3 drug into the genre4 for me. So at some point, my brother introduced me to the Robert Glasper Trio. And that's when I finally understood the whole complexity5 and versatility6 in jazz.

(SOUNDBITE OF MUSIC)

BARTOS: Amazing. Amazing. Thanks to everyone who called in and shared. We really love hearing your messages. So please, when we send out the APB on the WHAT'S GOOD hotline, keep them coming.

GARCIA: Coming up next, (singing) Robert Glasper.

(SOUNDBITE OF MUSIC)

GARCIA: It's funny. Like, men expressing love for each other...

GLASPER: Yeah.

GARCIA: ...They usually have to, like, end it with a bro. Yo, love you, bro.

GLASPER: It got to be - you got to throw extra gangsta on it.

GARCIA: Yeah. Yeah. Love you, bro. Love you, B.

GLASPER: Guns.

GARCIA: It can't be like, yo, I love you.

GLASPER: They be like, love you - guns.

(LAUGHTER)

BARTOS: Love you, guns?

GLASPER: Guns. Knives. Just start naming shit. Football. Basketball. Just name shit. Anything masculine. Just start naming shit.

(LAUGHTER)

BARTOS: We're back in studio with Robert Glasper.

GLASPER: Oh, yeah. Oh, yeah.

GARCIA: Ooo-wee (ph).

BARTOS: Robert, what's up?

GLASPER: Y'all don't have a clap simulator or nothing?

GARCIA: (Laughter).

BARTOS: Nah, we just...

GLASPER: That was really anticlimactic7.

BARTOS: I do this, and Bob goes, aplausos, aplausos, aplausos.

GARCIA: Aplausos, aplausos, por favor.

(LAUGHTER)

BARTOS: We could probably add them in post.

GLASPER: We should add them in post. That'd be awesome8. Yeah. I love it.

BARTOS: So you just finished a one-month residency at the Blue Note.

GLASPER: Yes.

BARTOS: Forty-eight shows.

GLASPER: Forty-eight shows. Forty-eight shows.

GARCIA: How does one even prep for that?

GLASPER: I don't know. It was - man, look. I don't - it was - I don't know. I don't know how I got through it.

BARTOS: Was that your idea?

GLASPER: No.

(LAUGHTER)

GLASPER: The club - I think the club asked my management. Because they do it from time to time with different - well, they've only done it, like, three times with - well, only with three artists. Dizzy Gillespie did it, like, in the '90s.

BARTOS: Heard of him.

GLASPER: So I'm the youngest person to do it, in general. But yeah, they came to us with the idea. And because I have so many - I have my hand in so many different projects, and I have a few different bands, you know. So they're like, you can do that, you know, and do whatever you want the whole month. So I was like, oh, all right.

GARCIA: So you're doing two shows a night - you did two shows a night?

GLASPER: I did two shows - yeah. I did two shows a night. So for 48 shows - 24 nights, 48 shows. And I did Tuesday through Sunday. Monday was my day off. But really, Monday was prep for the rest of the week. And we sold out 44 of the 48 shows, completely.

GARCIA: Wow.

GLASPER: Completely sold out.

GARCIA: Props9, yo.

BARTOS: Tremendous.

GARCIA: Wait. Wait. Insert the clap button.

(LAUGHTER)

GLASPER: Clap right there. Exactly.

BARTOS: So, Robert, what are your earliest music memories?

GLASPER: My earliest music memories are from my mom. Man, I remember - because my mom was a singer and a pianist, and she sung all the genres10, man - funk, jazz, R&B. She didn't sing hip-hop. But (laughter) gospel. You know what I mean? And so I remember - I literally11 remember being, like, 3, in rehearsals13, standing14 against the wall, watching, and falling asleep. Going to sleep. Waking up. They still rehearsing, you know.

And to the point where - and also, my mom, you know, she wasn't a big fan of random15 people watching me, like babysitters. She needed to be around me. If my aunt couldn't watch me, no one was watching me, you know what I mean?

So used to bring me to the clubs when she's performing, like, during her sets. So she would have me in the back room and have the waitresses she knew - shifts - yo, walking in, checking on me while she's doing her sets. She would run off between songs and check on me.

GARCIA: What?

GLASPER: Oh, yeah. I was at the club. She just didn't do babysitters. Now I understand why, you know, as a dad now, you know? You hear horror stories, you know.

GARCIA: Sure. Sure.

GLASPER: And maybe sometimes you just couldn't - didn't have the money, you know, to be flat-out, you know?

GARCIA: Right.

GLASPER: So you got to do what you got to do. I remember her parking the car right by the door of a club, in the back, and me having to stay in the car because I wasn't allowed - somehow, they wouldn't allow me in the club.

GARCIA: Yeah.

GLASPER: So she had to come out in between songs like that, you know what I mean?

GARCIA: Yeah.

BARTOS: Wow.

GLASPER: And check - like, literally that happened - I know that happened one time. Probably never again. Because that's weird16.

GARCIA: Yeah.

GLASPER: But that shit happened, you know? But I was always around the music and around the hustle17 - you know what I mean? - of doing music and needing to make ends meet, and seeing my mom had the passion for music and seeing her work other jobs. So she would work from 9 to 5 at a everyday job, you know, and then come home and change and be out the door by 7 to go to her job that's from 7 to 3 a.m. You know what I mean? My mom would go to work at 7. She said, when I come back home, you better be asleep or on that piano.

(LAUGHTER)

GLASPER: So if I was awake, I was allowed to be awake and play. The one thing she would not take away from me is playing. You know what I mean? So I was able to be up but be on a piano.

GARCIA: What's the first time you jumped on stage with her as a piano player?

GLASPER: Once I started driving, which was like - in Houston, I was, like, 14. You could drive. I used to drop her off at work, which was this bar called the Bistro Vino in Houston. When I would pick her up from work around - I don't know - 12 o'clock, midnight, I would pick her up. I used to have to park the car and go upstairs, and I had to play the last song with her. You know, every night when I would pick her up. The bartender knew the director of the High School for the Performing and Visual Arts. He was like, yo, your son's really talented.

GARCIA: Word?

GLASPER: I can hook it up to where he can get an audition18 for, you know, this jazz director at the High School for Performing Arts. It's only one there in Houston, and you had to be zoned19 to it to go. But he was like, he needs to go there. They'll pull strings20.

BARTOS: Even though you weren't zoned?

GLASPER: Even though I wasn't zoned.

GARCIA: Ooh (ph).

GLASPER: So I went there. I did an audition.

GARCIA: Crushed it?

GLASPER: Crushed it. And I ended up going there. That really pushed me, to be at that high school with that much talent. My first year of high school, I went to Elkins High School, a regular high school. And I was the piano guy at the high school. You know, they would have me play all the new hip-hop songs. I remember when "I Need Love" came out, everybody was - yo, Rob, where the "I Need Love?"

GARCIA: (Laughter).

GLASPER: You know, I'd have to play that on the piano. And used to have to play all the Brian McKnight songs for the girls. You know, I was that dude. I was that dude.

(LAUGHTER)

GARCIA: So you can play by ear and read?

GLASPER: That's when I first learned how - I first learned playing by ear, learning Luther Vandross songs off of - because my mom and my dad played Luther Vandross...

GARCIA: Lutha (ph).

GLASPER: Lutha.

(LAUGHTER)

GLASPER: I used to - man, look. The reason why I play piano is because of Luther Vandross and Anita Baker21.

GARCIA: Really?

GLASPER: And my mom. She and my mom played.

GARCIA: (Singing) Sweet love.

BARTOS: (Laughter).

GLASPER: That album. That album. And yeah, bro. Like, for real. I told Anita that when I finally met her and stuff like that. I was like, yo, "Giving You The Best That I Got," "Sweet Love," certain songs just made me want to play the piano, you know. And with Luther Vandross, too, they both used real piano. Anita Baker, when - I got a chance to go in to record with her not too long ago. She never records without a piano player, a piano. When she's doing her vocals23, there's a piano player playing the piano. It's not a track that they gave her, and she sings over the track, you know. So that just attracted me, you know.

BARTOS: So your mother performed under the name Kim Yvette?

GLASPER: Yep.

BARTOS: And I think we have some audio of her singing...

GARCIA: Look at his face (laughter).

GLASPER: Uh-oh.

GARCIA: ...Which we'd like to play.

(SOUNDBITE OF MUSIC)

KIM YVETTE: (Singing) When I needed a friend, someone on whom I could depend on. Someone who loves and cares. Somebody who'd always be there.

GLASPER: Oh, yeah. This is her Aretha Franklin vibe. You can hear it.

BARTOS: Totally.

GLASPER: So this is her gospel recording24. She started doing - she started doing gospel, like, late '90s, early 2000s. But before that, she was all, like, disco, pop, R&B. But she always was the music director at church. So she would do the disco-pop-R&B stuff during the week.

(LAUGHTER)

GLASPER: And then she - she was literally Whoopi Goldberg. Like, she was - she's "Sister Act." And then Sunday morning, she was the music director at church. So that's funny. Y'all are literally the first interview I've ever done where they've played my mom.

GARCIA: Ah, dope, man.

GLASPER: Never did that before, ever, in my life.

BARTOS: And now did you stay going to church...

GLASPER: Nah.

BARTOS: ...With your mom? Your mom didn't insist?

GLASPER: No. Well, no. I didn't - No. Well, she wanted me to. So when I moved from New York - from Houston to New York for college, my pastor25 at the church I went to, Ratliff (ph), he made a call. And I was immediately working at a church called Canaan Baptist Church in Harlem.

GARCIA: Oh, yeah.

GLASPER: Yeah, 116th.

GARCIA: Word.

GLASPER: So I immediately...

GARCIA: Right off of 7th Ave.

GLASPER: Yep. And I literally - I - my first two days - when I landed, the next day, I was at choir26 rehearsal12, you know. And I played at that church for about two years. But then I started going to tour with different people.

GARCIA: Yo, that's crazy. I used to live down the block.

GLASPER: Yeah.

GARCIA: The church joint27 was the jump-off because...

GLASPER: Oh, yeah.

GARCIA: ...I mean, I walked to the train station on Sunday mornings, and there'd be a lot.

GLASPER: Oh, yeah. For sure. It was poppin' (ph).

GARCIA: Like, it was like Michael Jackson performing.

GLASPER: One-hundred percent, yeah.

GARCIA: Like, not just Harlem residents, but I'm talking about like tourists from Europe and Asia. Like, yo, like...

GLASPER: Bus loads.

GARCIA: ...Around the corner.

GLASPER: Yeah, bro.

GARCIA: And you up in there like rocking.

GLASPER: I was up in there, yeah.

BARTOS: You know, we read that you lost your mother to tragic28 circumstances back in 2004. And you said on Twitter, my mother was murdered 13 years ago today, the week of my birthday. I turned that pain into fuel and inspiration to be better and make her proud. So you had this, like, deep musical connection with your mother.

GLASPER: Yeah.

BARTOS: And I'm just curious, all these years later, if that's something that still feels like a vital and active connection.

GLASPER: Oh, yeah, 100 percent. You know, she's always with me. She was my biggest fan. You know the moms that overly brag29 for no reason? You know, she was just a bragger30. And she always made sure that I felt good about myself and that I was always good enough and you're great. You know what I mean? Like, as a black man coming up, you need that as a boy, you know. And especially because, you know, a lot of times I went to white schools and stuff like that. So she - I think she also felt the need to make sure I felt that. You know what I mean? And so yeah, she's 100 percent always, always there. And my son looks just like her.

GARCIA: Oh, dope. Wow.

GLASPER: And at times, he tells me he misses her. He never got to meet her. You know, he was like, I miss Grandma Kim (ph). You know what I mean? And I'd be like, wow. She's right there, you know. You don't even know, you know what I mean? So yes, 100 percent there for sure.

GARCIA: Dope. You did a Grammy Award-winning soundtrack called "Miles Ahead" for Miles Davis.

GLASPER: Yes. Yes. That was awesome.

GARCIA: That has to be awesome, but that's got to be daunting31 too, I would imagine.

GLASPER: Oh, my. Jesus. First of all, that's first thing I ever did soundtrack wise. And so Don Cheadle tweeted me. That's how I got the part. He tweeted me. He's like, yo, I love your music. But I was like, thanks. You're Don Cheadle. That's literally what I said back to him. And then we got to DMing.

GARCIA: (Laughter) You literally wrote that to him?

GLASPER: I literally said, you're Don Cheadle.

(LAUGHTER)

GARCIA: That's not a response to a request.

(LAUGHTER)

GLASPER: I know. I just couldn't believe it. It was my first celebrity32 tweet. I've never gotten one before. I was super hype. First, I went to his profile to make sure there was like - that's you.

GARCIA: He had the blue dot.

GLASPER: He had the blue check. I was like, got to be you, Don. And yeah. So I was like - we started talking a little bit after that. And then he said, hey, man, I want you to score this film. Have you ever scored films before? I was like, yeah. Yeah. So then I did it. It was hard as hell 'cause I've never done anything like that before. And I had to do a lot of it away from Don when he was in LA. I was on a tour with my band and stuff. So, you know, I had to do it remotely.

So I had to learn how to do that stuff and send him back ideas. And he would send me - and the thing is, half of the movie wasn't shot yet. So he'll be sending me what the scene's going to look like in his head and be like, I need music for that. So a lot of times, it will take me 10 tries of music for him to - for it to sync with what's in his head. Yeah, so I would have to write something. And then they would bring in actors. The actors had to act like they're playing what I wrote. And then vice33 versa, some things he already shot, and we would just put them on mute. And we had to make what they're doing look and sound good.

BARTOS: Yeah. Sure.

GLASPER: (Laughter) Yeah, look and sound like the best band ever, you know.

BARTOS: So I imagine, as a world-class jazz pianist, you're a historian as well. I mean, you know history. So what was it like working on a project that would obviously have to really take into consideration a lot of history and a lot of subtlety34? This is Miles Davis, so...

GLASPER: It was great because - it's Miles Davis, but I already knew it because that was my...

BARTOS: No, I know you did. But what about Don as a...

GLASPER: Oh, he did, too. Well, a lot of people don't know, man, he got a scholarship to college for saxophone. Like, he's a musician.

GARCIA: Don Cheadle.

GLASPER: Don Cheadle. He's a musician, dude. Like, dude plays some bass35. Like, he picked up - were in rehearsal one day going over some of the music for a scene. And he picked up the bass, started playing a tune36. What the fuck you doing? Like, you know, plays a little drums. So he actually knows music theory, you know what I mean? So in a real way, we're able to talk in a real way musically.

But, you know, he actually learned how to play trumpet37 for real for the role. Like, he can actually play melodies and stuff like that. So it's not all fake. You know what I mean? Kion my boy Kenaan had to go over some - and, you know, make it seem like - make it - clean up some of the stuff. But a lot of the stuff - fingering's correct. 'Cause he would play - he had to play to some actual Miles recordings38, you know, in the movie. But the fingering that he's doing is correct.

GLASPER: Wow.

BARTOS: Bananas.

GLASPER: Crazy story, though.

GARCIA: What?

GLASPER: About the Grammy. So Don didn't think we were going to win it. So he didn't go. He was like, bro, we're going up against "Suicide Squad," "Straight Outta Compton," the Amy Winehouse story. We're not winning. You know what I mean?

GARCIA: Those are heavy hitters and commercially successful, each of them.

GLASPER: And commercially successful. We were not commercially successful. "Miles" showed in like 3 theatres. Like, literally, I don't even know which ones they were. So I was like, we're not winning. But I was like, let's just go at least to celebrate us getting nominated. And I was like, if we win, you've got to get dressed and come down because the category was early as hell. It was like 12 p.m. So then when we won, I called him from the stage I think. I was like, yo, we won. I'm on stage.

(LAUGHTER)

GLASPER: So he gets dressed, and they come to the thing. So we go back out - 'cause I walked the red carpet going in. So now I want to walk in with Don. You got to walk it with Don.

BARTOS: With the hardware.

GLASPER: With the hardware, you know what I mean? 'Cause when I walked with Don, I was the mac (ph). Everybody came over to us - Rick Ross, this person, this person, you know. So we walk the red carpet. Everything's cool. And we go back into the Grammys. We try. Don went because he hadn't been in it. So they didn't scan his ticket yet. They scanned my ticket already. They scanned all my team's ticket already. So when we went to go scan again, they were like, we can't rescan. Did you leave? We're like, yeah. They're like, you can't come back in.

GARCIA: (Laughter).

GLASPER: So we tried to go to the televised portion of the Grammys. They were like, no. So we're standing outside.

GARCIA: (Laughter).

BARTOS: Are you holding a Grammy?

GLASPER: I should have been. They don't give it to you. It's not like the Emmys where they give it to you immediately. So I'm standing outside. Meanwhile, all these people are - the guard's like, no. Meanwhile, all these people are passing me up like, Robert Glasper, come take a picture. Congratulations on your Grammy. I'm like, sir - see? He's like, I don't care. So it took an hour for them to go get people. We had to give our IDs.

GARCIA: Dag (ph).

GLASPER: And we finally got in, but it just took an hour.

BARTOS: We touched on your residency at the Blue Note, which you switched up with your different projects.

GLASPER: Yes.

BARTOS: So you've got your solo work. And you've got the Robert Glasper Experiment.

GLASPER: I don't do the Experiment anymore.

BARTOS: You don't?

GLASPER: I'm not doing it anymore, so.

GARCIA: Why?

GLASPER: I just have so many different projects I want to do. I did that for 10 years. So now, I just have so many different projects that I want to get to. You know what I mean? So I had the same band for 10 years, you know. So it's just time to move on.

GARCIA: When you're saying you have so many projects you want get to, like, what projects?

(LAUGHTER)

GLASPER: Oh, well one of them...

(LAUGHTER)

BARTOS: This is a perfect opportunity to talk about...

GLASPER: Right, perfect opportunity. One of them is a group that I have now. We put out a record. It's called R+R - It's called R+R=NOW.

(SOUNDBITE OF R+R=NOW'S "CHANGE OF TONE")

GLASPER: They did the last week of me at the Blue Note - with me. And it's like basically like a super band. It's Christian39 Scott on trumpet, Terrace Martin on keyboards and vocoder, on saxophone - Derrick Hodge on bass, Taylor McFerrin beatboxing and doing some keyboard stuff. And the drummer is Justin...

GARCIA: That's Bobby McFerrin's son.

GLASPER: Yep. Bobby came by the club and sat in with us.

GARCIA: Really?

GLASPER: Yeah. He came and sat in with us.

GARCIA: Taylor's talented in his own right.

GLASPER: Yes, he is - very nasty.

GARCIA: Cool dude, too.

GLASPER: So that's what - that's one of the groups I'm doing now. You know what I mean? And then I have the other - my other group, August Greene, with Common and Karriem Riggins. You know, so - and I have a bunch of other stuff in my pocket that I haven't done yet.

BARTOS: So August Greene, that was conceived around a Tiny Desk concert, is that right?

GLASPER: Yeah, around there. Yeah.

GARCIA: I saw the White House performance...

GLASPER: The White House performance.

GARCIA: ...Tiny Desk for NPR.

(SOUNDBITE OF ARCHIVED BROADCAST)

COMMON: (Rapping) Come on. I met this girl when I was 10 years old. What I love most, she had so much soul. She was old school. I was a shorty, never knew throughout my life, she would be there for me on the regular. Not a church girl, she was secular40. Not about the money...

GLASPER: That was special.

GARCIA: I'm like - you know, honestly, I'm like trying to find words because when I watched it, I was just - my jaw41 dropped. I mean, you know, one, it was President Obama's last days. So we were all feeling emotional about that. But then like, you know, what Common was sharing and then Bilal singing and you on the keys and Karriem and the sister you had playing a flute42.

GLASPER: Elena, Elena Pinderhughes.

GARCIA: Bananas.

GLASPER: Amazing.

BARTOS: Did you get any face time with Obama after the concert?

GLASPER: Yes, not that day, but - because he wasn't there that day. But when I came...

GARCIA: You met him at the Grammys.

GLASPER: I met Obama - no.

(LAUGHTER)

GLASPER: No, I met him - my second time going to the White House. I went for International Jazz Day. And I performed a song with Sting and Herbie. No big deal. But..

(LAUGHTER)

GLASPER: Just my life every day. You know, it was just a Wednesday, actually - just Wednesday. But that day, I got to meet Obama and talk to him. And me and Terrace - Terrace was with me, too. And we went and we got a chance to talk to him because Obama's - he said it in an interview, like, his favorite hip-hop song was "How Much A Dollar Cost" - Kendrick Lamar. And, you know, and Terrace produced that record - produced that song.

So Obama sat there and talked to us about why he loves "How Much A Dollar Cost." You know, it was super dope. And I'm all over that "To Pimp A Butterfly" album, you know. So it was us just like - it was just like sitting there, like, he's talking to us about "To Pimp A Butterfly." It's amazing.

BARTOS: Incredible. Can we go back to R+R and get a little deeper with that? What's that about?

GLASPER: So R+R is reflect - the name of the band is R+R=NOW. I made it an equation. And basically it's reflecting and responding equals now. So if you reflect in real time and you respond in real time, then you're now. You're relevant. And that's what has to happen. And that's what we're doing in music. You know what I mean? We're responding to what we hear with our surroundings. That's why when you hear my music, there's hip-hop in it. There's this in it. There's this in it - because that's now, you know.

So I just wanted to get together a bunch of artists who I feel have that same thought process. And Terrace Martin, I've known Terrace since high school, really. We went to a jazz camp. He's from Compton. But we went to a jazz camp together - jazz saxophone player. Right? Soon after that, he started being - he's directing for Snoop and then started making beats for Snoop. And then, you know, he just started making beats and being that guy. You know what I mean?

So he has the jazz, hip-hop, both world things happening. And then he went on to produce, you know, stuff on all of Kendrick Lamar's albums, you know. And when "Good Kid, M.A.A.D City" came out, the Kendrick Lamar album, I was in love with that album. Like, my favorite - one of my favorite hip-hop records. I love that record. I called Terrace. I was like, yo - 'cause he did a lot of stuff on there. I was like, Terrace, dude, Kendrick's next album, you got to get me on there somehow.

(LAUGHTER)

GLASPER: Please. Please get me on there somehow. So push comes to shove, a few years later, I'm in LA. He calls me. Yo, you're in LA, right? Come to Dr. Dre's studio right now. Kendrick's here. We're finishing up his new album. I'm like, cool. And I went there to play on this song called "For Free" that's on there. It's like a poem, second poem. It's like the second song on "To Pimp A Butterfly." I played that song.

But Kendrick was there. He saw me playing. He was like, oh, man. So I'm killing43. And then he just started pulling up all these songs from the record. Pull up so-and-so. Play what you hear. Yeah. Pull up this. Pull up that. I played on eight songs, sitting down...

GARCIA: Oh, get out.

GLASPER: ...In that one sitting.

GARCIA: Crazy.

BARTOS: When you were working on "To Pimp A Butterfly," what was your interaction with Dr. Dre?

GLASPER: Doc, he wasn't there. Yeah, when I did "To Pimp A Butterfly," it was just at Dre's studio.

BARTOS: Got you.

GLASPER: You know what I mean? But Dre wasn't there. I didn't meet Dre till this year. We had been trying to meet for a long time, for, like, two years. But timing44 never worked out. You know when I met Dre? At my 40th birthday party, in LA.

GARCIA: This year?

GLASPER: This year. April 6. Dre texted me. In my mind, it wasn't a big party. It was just some people coming into a club to hang out. It wasn't like people are flying in to - you know. You know.

GARCIA: And you responded, you're Dr. Dre.

GLASPER: So he heard - right.

(LAUGHTER)

GLASPER: He heard - look. Right? So they were like, Dre - like, what time are you getting to your party? I want to fall through. I said, probably around 10:30. I'll be there at 10:30. I pull up at 10:30. He pulled up - same time, at my party.

(SOUNDBITE OF DR. DRE'S "STILL D.R.E.")

BARTOS: (Interpolating song) Bling, bling, bling, bling (ph).

GLASPER: You heard it. I heard you. That's what I heard.

BARTOS: "Still D.R.E."

GLASPER: That's what I heard.

(LAUGHTER)

GLASPER: So look. Me and him chop it up outside the party for about 20 minutes, and then he walks into my party with me. I walked into my 40th birthday party, in LA, with Dr. Dre.

BARTOS: (Laughter).

GARCIA: And this time, the security guards let you in.

GLASPER: This time, they let me in. But they didn't see me.

GARCIA: (Laughter).

BARTOS: (Vocalizing) Ba-dum. Ba-dum (ph).

GLASPER: Nobody saw me. All they saw was Dre. I was like, it's my birthday.

GARCIA: Should've had the Grammys in hand.

(LAUGHTER)

GLASPER: Exactly. Exactly. So we walk in, you know, and he hangs out. And Herbie comes to the party. But while I was playing, my manager saw Dr. Dre walk up to Herbie. He came onstage - Herbie's on the side of the stage - walked up to Herbie and introduced himself to Herbie.

BARTOS: (Laughter).

GLASPER: Like, hi, I'm Dr. Dre. At my party. Like, that's, like, crazy.

GARCIA: That's crazy.

GLASPER: You know what I mean? Super bananas. Super bananas.

BARTOS: Let's talk about jazz - jazz today. Jazz in 2018, I think, you know, that means different things to different people.

GLASPER: Right.

BARTOS: What does it mean to you?

GLASPER: I come from a lineage of different styles of music that my people gave to the world. You know what I mean? And so in my world, jazz is just a - it's a big house of many rooms. You know, black music in general, for me, is a big house with many rooms. And I can go room to room, you know. So you know, in any given time, it can sound like something, it can sound like this, it can sound like that. But it's all improvised45 music, you know.

It just depends on what your influence is. That's what makes it sound different, you know. Wherever you come from, that's what it's going to be. So, you know, everybody's jazz isn't going to be the same or sound alike. It's a story of a person and where you come from, your lineage and, you know, what you love in life, what you don't love in life - all these things.

BARTOS: I think for a lot of people, they think of jazz as an older generation's music.

GLASPER: They do.

BARTOS: How important is it to you to bring younger people into the fold?

GLASPER: It's important because it was always - I feel like jazz has always been the new music of its time. You know what I mean? In 1920, it wasn't old. It was new. 1930, it was new. 1940, it was new. It was the new sound. '50s, it was the new sound.

BARTOS: And the newest. It's always been the most avant garde...

GLASPER: The newest. It was on the cutting edge. Avant garde. Like, parents - people were like, what are you doing? You know, like, yeah. In 1970, same thing, you know. It just had - electronic instruments came into play and, you know, it became jazz fusion46. So then that's when this separation started happening, where older jazz - where jazz musicians were like, hey, you can't use electric bass. That's not real jazz. And you can't use electric keyboard. That's not real jazz. That's where that separation started coming from. And when the electric people started playing jazz, and it started mixing with funk...

GARCIA: Yeah.

GLASPER: You know. And then it became - you know, it took on some other life and some other thing. So the acoustic47 straight-ahead cats are like, no, this is jazz over here. We don't want to conform and change the sound, you know. We can't play that (laughter), you know. So that's where you get those people who are like, you know, jazz is one thing. Jazz is this. But it's not. The tradition of jazz is that it always changes. So if somebody said, you got to stick with the tradition, they don't know what the tradition is. Because the tradition is it doesn't stick. It keeps moving.

BARTOS: Can you share with us ways that you maybe have attempted to endear younger people?

GLASPER: Oh, yeah. I mean, well, first of all, I try to incorporate more genres of music, you know. Because jazz is not a thriving genre of music, you know. There are, like, 10 jazz radio stations in the world, and they all play music from before 1970. So there's nothing connecting young people to the music at all. Literally, nothing connecting them. There's no reason why a 20-year-old would like music - would like jazz by listening to jazz radio. I can't be mad if they don't like it. It's the same thing if you played Cardi B right now for your grandmother. Would you be like, why don't you like this?

BARTOS: (Laughter).

GLASPER: You wouldn't. Because you understand, musically and just the way life has changed - and, you know, it's just different. You know what I mean?

GARCIA: Yeah.

GLASPER: There's no connection through Cardi B and your grandmother.

GARCIA: Except for her song, "I Like It Like That."

GLASPER: "I Like It..."

(LAUGHTER)

GARCIA: Which is the Pete Rodriguez cover.

GLASPER: But, you know, you get that immediately. You know what I'm saying? If I play Lil Wayne for my grandmother right now, she'd be like, what the hell - what is this?

GARCIA: Yeah. Yeah.

GLASPER: She comes from real instruments. She comes from jazz. She doesn't come from a hip-hop world. So if you play - if you flip48 that same idea around, you've got to understand why there's a disconnect and why they don't like it. It's not a hard concept to understand. So I just try to incorporate those kinds of sounds in my music, the sounds that I like. You know what I mean?

And I'm not selling out. I'm not pulling - I'm not putting things in my music just so young people can like it, and I don't like it, too. You know what I mean? These are things that I also like. I also like different styles of music. And I also like to mix them into jazz, and do that whole thing. So when people come to my shows - if you ever come to one of my shows, you'll see how diverse the audience is. There's very few artists where you'll have an 80-year-old white lady and a 15-year-old black kid at the same...

BARTOS: That was my mom.

(LAUGHTER)

GARCIA: Shoutout to Ava (ph).

GLASPER: You know what I mean? But I see that all the time. Like, that's how mixed my audience is. Like, it's super mixed.

BARTOS: Which is not typical for jazz shows.

GLASPER: Not typical for any show. Think about it.

BARTOS: True. True. Indeed.

GARCIA: It's interesting because you've been able to achieve this without compromising yourself...

GLASPER: Exactly.

GARCIA: ...Or compromising jazz.

GLASPER: Exactly.

GARCIA: Which is like - that's, like, the impossible task.

GLASPER: Exactly. Because that's the thing. Normally, there's a weak link, and you can hear it if you know the styles. You can hear when the jazz musician is trying to play hip-hop. Because you hear that shit, and you're like, OK. You - you're a fan of hip-hop...

GARCIA: Yeah.

GLASPER: ...But you don't really know how to play the shit. You know what I mean? You didn't really dig in. Or vice-versa, when a cat's trying to play jazz that's not a jazz musician. I hear it the first measure. I know it.

GARCIA: Sure. Sure.

GLASPER: You know what I mean?

GARCIA: Jazz seems to lean towards a male-dominated experience. And you know, you do have Elena Pinderhughes, Esperanza Spalding.

GLASPER: Spalding. Yep. Yep.

GARCIA: You have - you have women who are prominent. The legacy49 of all the Ella Fitzgeralds and Sarah Vaughans and everything.

GLASPER: Yep.

GARCIA: But where are woman in 2018 in the forward progression of jazz?

GLASPER: I think jazz is just a male-dominated sport, and I think a lot of females get run over by that. There's a lot of sexism in music (laughter), in general. You know what I mean? And so that's why I'm trying to be more vocal22 about - especially people that I have a musical connection with. Almost every project I do, I call her to do. You know, I called Esperanza - I call Esperanza all the time.

There's just - it's an imbalance. You know what I mean? It's not that the female jazz musician is lacking, like there aren't any out there. They're out there. And there's a lot of good female jazz musicians. Great. Great female jazz musicians. You know what I mean? But it's just one of those things where I think guys have to pay more attention and bring it to the forefront and try to change it.

It's like white people change - helping50 to change racism51. You know what I mean? Like, it takes somebody white sometimes to be like, no, this is how - this is what needs to happen, and then people start listening. You know what I mean? It's like, oh, OK. You know what I mean? So it takes men to start saying, like, hey, bro, she's dope. Why are you not using her? You know what I mean? What's up with that?

GARCIA: Yeah.

GLASPER: You know what I mean? So I just think it takes more of that. You know what I mean? So I'm just - I'm trying to be more aware of that myself.

GARCIA: Word.

GLASPER: You know what I mean? And try to change that narrative52, you know.

GARCIA: Dope.

GLASPER: And not just make it about the singer all the time. You know what I mean? That's when people use females. Oh, I got a singer.

BARTOS: Right.

GLASPER: You know, like, they put them in that box. Like, a female don't play drums. Like, some of my favorite drummers are female. Nikki Gillespie's amazing. Kim Thompson. There's so many. There's a lot of different great female jazz musicians out there. Musicians in general, not just jazz. But you know.

GARCIA: Word.

BARTOS: You talked about your audience being incredibly diverse...

GLASPER: Yep.

BARTOS: ...Both in race and age. But I don't know if that's typical for jazz audiences. I went to see my boy Theo Croker the other day perform. You know, the audience was predominantly white.

GLASPER: It's everywhere.

BARTOS: Yeah. Why do you think that is?

GLASPER: I think a long time ago, white people made jazz into, like, something you sit down and you appreciate. Like - this is - you know what I mean? Like one of those things. It wasn't Harlem...

GARCIA: Like a tennis match.

GLASPER: It wasn't Harlem - like a chess match. Yeah. Like golf or some shit. I don't know.

GARCIA: (Laughter).

GLASPER: It wasn't Harlem in a dance club. There were things popping. You dance if you're having a good time. Blah, blah, blah.

BARTOS: Yeah.

GLASPER: Then they took the - the dance floor away and put chairs in it. You know what I mean? And then for a long time, we weren't allowed to go to jazz clubs. You know what I mean? Got to look at it that way, too. Black people weren't allowed to go to jazz clubs. Even the people who were performing. The artist you went to see wasn't even allowed to come in through the front. You know, they had to go through the back, and they had to eat in the kitchen. And, you know, we were treated like, you know, shit, but we were the main act. You know what I mean?

So it's not something that we're used to doing. Going to jazz shows is not something that's normal. You know what I mean? So I think it has something to do with that. And I think it just has something to do with - I don't know. I think black people just love new stuff.

(LAUGHTER)

GLASPER: Like, when it comes to - like, when you go to see - like, when you go to see jazz - when you go to jazz clubs, you see older white people. It's not like you're seeing a bunch of young white people. You know what I mean? So it's not necessarily that. You know what I mean? So it's - I feel like when you do something that's related to now and something the story of now, you'll start seeing more black people. You know what I mean?

But with jazz in general, I think there are just so many jazz musicians that live in the past. They're living in the past they didn't even live in. It's not even their past they're living in. You know what I mean? Like, you weren't around in 1950. Where is your story?

(LAUGHTER)

GLASPER: Why you telling that story? That has nothing to do with you. You know what I mean? Like, where is your story?

BARTOS: Sure.

GLASPER: You know. And a lot of people don't have their own story. They have the story they're taught in college or something. You know what I mean? Or what they think jazz is supposed to be.

BARTOS: Academic almost.

GARCIA: Academic, yeah.

GLASPER: Yeah. They're not liberated53 and being themselves. You know what I mean? I remember when I got liberated. I remember the day. I saw Roy Hargrove play at my high school. I was a senior in high school, and Roy Hargrove came to my high school. And he had on overalls54 and Timberlands.

(LAUGHTER)

GLASPER: I couldn't believe it. I was like, oh, my God. You could play jazz - first of all, I'd never seen an all-black band. So this is my first time seeing an all-black band, and I'm like ooh (ph). And it's jazz, which shouldn't be like that, but that's what it was. Never seen that before. And they all were dressed like me. And they looked like me.

That inspired me to be who I am. I was like, you can be who you are right now, still have the language, practice, and be one of the best at what you're doing and still be you. You know what I mean? Most jazz musicians feel like you have to wear a suit and a tie every time you play. Because back then, when you're black, you had to wear a suit and tie to get any sort of little respect.

GARCIA: Sure.

GLASPER: You were - you had to dress like that. You know what I mean? You couldn't - getting real respect - getting respect shouldn't have anything with what you have on. You know what I mean? And as a man, I want you to respect me as a man and who I am, not because I wear a suit. So that's why I'd never wear suits, except when going to the Grammys.

BARTOS: (Laughter) Which is often.

GLASPER: Which is often. Or we're not going to the Emmys. Whatever, we're not talking about the Emmys either.

(LAUGHTER)

GLASPER: But we didn't bring that up. We got to talk about my Emmy later. But...

(LAUGHTER)

GLASPER: ...You know, I - look. I want kids to look at me and say, wow, he looks like me - and get inspired the way I was.

GARCIA: That's happening.

GLASPER: It's always happening.

GARCIA: That's happening.

GLASPER: One-hundred percent.

GARCIA: That's not even you want. That is actual fact.

GLASPER: One-hundred percent.

GARCIA: I mean, look at you right now.

GLASPER: When you don't look like their principal, they don't - you know what I'm saying? - they don't want you looking like their principal. They don't want to be that. You want to be what you look - what you see.

BARTOS: So, Robert, multiple Grammys. You've got an Emmy for your song "Letter To The Free" from Ava DuVernay's "13th."

GLASPER: Yes.

BARTOS: Incredible, incredible project.

GARCIA: Dope.

GLASPER: Super.

GARCIA: Is the EGOT in sight or what?

GLASPER: Hey, man. Right now, I'm an EG. Common needs a Tony. We're discussing a Broadway play.

GARCIA: Well, can you tell us about that?

GLASPER: I don't know much about it.

GARCIA: EGOT is Emmy, Grammy, Oscar, Tony.

GLASPER: He has Emmy, Grammy, Oscar. He just needs a Tony. So we're going to have that - we're going to have it in a real way, but we're definitely going to sit down and really try to do - try to do a Broadway play. I don't know any details. We don't have any details. It hasn't been fleshed out yet. But that's the next move.

BARTOS: Amazing. If you need any white people that, you know...

GLASPER: White Guy No. 2?

BARTOS: I'm in.

GLASPER: OK. Got you. Yeah. So that would be - if, you know, that would be something I would love to do anyway. But that would be the Tony part.

GARCIA: Dope.

GLASPER: You know.

BARTOS: All right. Coming up next, it's the Impression Session with Robert Glasper.

(SOUNDBITE OF MUSIC)

BARTOS: It's the sound of the funky55 drums, and that means one thing. It is time for the Impression Session with Robert Glasper.

GARCIA: Ooo-eee (ph).

GLASPER: Oh, snap. I don't even know what this is. I'm scared.

GARCIA: Robert, what we're going to do right now is play you a track.

GLASPER: OK.

GARCIA: You react, as simple as that. Sound good?

GLASPER: You're going to play me a track and I react?

GARCIA: Yeah. That's it.

BARTOS: We're going to play you some music, and you can just talk about it any way you want.

GLASPER: OK. Cool.

BARTOS: And it's - this is jazz. It's free, free form. Whatever you want to do.

GLASPER: No problem. I can be pretty brutal56. It's not one of y'alls...

BARTOS: Oh, no. It doesn't have to be...

GLASPER: ...Nephew's beat tapes or some shit. I'm about to shred57 it.

GARCIA: Wow. You might. I'm going first.

(LAUGHTER)

GLASPER: What the hell is this? They should be killed.

GARCIA: Edit.

(LAUGHTER)

BARTOS: I might have to tell you who this is before you shred it.

GARCIA: No. No. Don't tell him. Don't tell him. Don't tell him.

GLASPER: We can edit later.

BARTOS: All right. Let's go.

(SOUNDBITE OF SONG, "ALPHABET CITY")

DON CHERRY: (Singing) Homeboy, homeboy, where you been? I've been around the corner taking a sniff58 again. Homeboy, homeboy, you'll end up in jail. Next thing you know, you'll need some bail59.

GLASPER: I feel like I know the voice.

(SOUNDBITE OF SONG, "ALPHABET CITY")

CHERRY: (Singing) Having an A, having a B, having a C, having a D, ain't no E now.

BARTOS: So that's...

GLASPER: Don't tell me yet.

BARTOS: OK. Cool. Cool. Cool.

GLASPER: I'm not going to guess, but it sounds - I like the drums and percussion60. Who is the lead person?

BARTOS: Can I give you a hint?

GLASPER: Yes.

BARTOS: The lead person is also the trumpet player.

GLASPER: OK. Hold on. Hold on.

(LAUGHTER)

GLASPER: That sounds like late '80s.

GARCIA: It definitely is.

BARTOS: It's 1985.

GLASPER: OK.

BARTOS: And it's Don Cherry.

GLASPER: Oh, Don Cherry.

BARTOS: Yeah.

GLASPER: Oh, snap. I never heard that.

BARTOS: Yeah. It's from album called "Home Boy, (Sister Out)." And, of course, Don Cherry is a legend...

GLASPER: Of course.

BARTOS: ...The father of Neneh Cherry. And that song is called "Alphabet City."

GARCIA: Is he singing there?

BARTOS: That's him singing, yeah.

GARCIA: Rapping.

GLASPER: (Singing) Having the D, having the C.

That's singing.

BARTOS: But for me, that's like - you know, other than, I think, "Kind Of Blue," that's probably like the first quote, unquote, "jazz artist" that I gravitated to when I was already sort of an autonomous61, young music collector.

GLASPER: Wow. Oh, you started really open.

BARTOS: So it's an album that - where he touches on reggae and funk and all that. And I think in that way...

GLASPER: Oh, that's cool. 'Cause my first Miles album was Miles' "Around The World." And it was when he was doing electric stuff. He was doing "Human Nature" and "Time After Time" and stuff like that, songs I knew. So I gravitated to that first, and then I got into, you know, the rest of it. OK. Interesting.

BARTOS: Yeah. That's why I picked it because, for me, it was like an invitation into - and I think that...

GLASPER: I just knew Don Cherry from Ornette Coleman, you know, did a lot of stuff with Ornette Coleman, his super out stuff like that. But I never heard that before.

BARTOS: I thought you were going to slay62 him for the opening rap.

GLASPER: No, I could tell it was an OG. I mean, I could tell it was early. Like I said, I thought it was late '80s. It felt like, you know what I mean? For that time, yeah...

BARTOS: It's aged63 well, actually, to me. I mean, I played it for Bob, and he started laughing hysterically64.

(LAUGHTER)

BARTOS: I was like, yo, I really like this.

GLASPER: Right. Right. Right. (Laughter). Next.

GARCIA: I couldn't co-sign the verse there, but props to Don Cherry. All right. So let's get to the next song.

(SOUNDBITE OF SONG, "ROCK RUBBER 45S")

GARCIA: That's a woman playing the violin there. Her name is Mireya Ramos.

GLASPER: Mireya Ramos.

GARCIA: Mireya Ramos. Can you say it with a rolling R? Ramos.

GLASPER: Ramos.

(LAUGHTER)

GLASPER: A little piano.

GARCIA: That's Robert Glasper.

GLASPER: Oh, shit. It's the joint?

GARCIA: Yeah.

(LAUGHTER)

GLASPER: The first part wasn't me. The first part was...

GARCIA: Eddie Palmieri (laughter).

GLASPER: Dude, that's why I felt like...

GARCIA: (Laughter).

GLASPER: I haven't heard it since the the first time I heard it.

GARCIA: Got you. Got you. That's great.

GLASPER: Oh, shit. OK. That's so funny.

GARCIA: Well, for our audience, that is the title track...

GLASPER: That's the opening - yeah, the opening song, yeah.

GARCIA: ...To a film that I music supervised, directed, wrote and produced titled "Rock Rubber 45s." And the first piano is by Eddie Palmieri, 10-time Grammy Award winner, National Endowment for the Arts Jazz Master. And then...

GLASPER: And it goes down a few notches65 to me. Thanks.

(LAUGHTER)

GLASPER: He's like, the first pianist has 13 Grammys.

BARTOS: We just would like to end on that note with that Grammy tsunami66.

GLASPER: And the second...

(LAUGHTER)

GLASPER: Yo, I haven't - yeah, I haven't heard it since we first heard it. That's crazy.

GARCIA: My vision with having him on this track was I want to hear him on some hard hip-hop drums, right?

GLASPER: Right. Right. Right.

GARCIA: And then for you, I kind of left it open.

GLASPER: Yeah.

GARCIA: And then you played a montuno. And for the people that don't know, that's - a montuno it's like - in Afro-Cuban music, the, you know, like the sort of - the rhythm, the piano rhythm. You blew it out the frame. But I was curious, like, what are your Latin roots - or your roots in Latin music? Because clearly, there's something there. You played that too naturally.

GLASPER: I love Chucho Valdes, you know what I mean? I love Gonzalo Rubalcaba.

GARCIA: I don't even know who that is.

GLASPER: You know Gonzalo Rubalcaba?

GARCIA: New artist or old?

GLASPER: Oh, no. No. He's older. Well, he's not as old as Chucho, but Gonzalo is probably 50-something.

GARCIA: OK.

GLASPER: But he's like by far probably the most technically67 sound pianist in the world in jazz.

GARCIA: He's from Cuba?

GLASPER: Yeah. We're both on the same label, both on Blue Note.

GARCIA: OK.

GLASPER: Yeah. Yeah. He's Cuban. Yeah.

GARCIA: Dope.

GLASPER: Yeah. So I'm a huge fan of him. I'm a huge fan of those two. And I've got - I mean, Gonzalo, like I said, we're on the same label. You know what I mean? I've just watched his shit from, you know, from when I was in high school. I was such a fan. He's done duo shows with Herbie. You know I mean? He's like - he's just one of those...

GARCIA: Chick is nasty, too - Chick Corea.

GLASPER: Oh, my God. I mean, he's - yeah, definitely. I mean, yeah. But for sure. So, you know, and I went to school with one of my friends - Latino piano player, Richard Cruz, in high school. So he used to show me montunos and stuff in high school.

GARCIA: Oh, word?

GLASPER: Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. So that's a little bit where, you know, I'm not super deep in it, but I have these little connections where I'm like, OK, I get it. I get the vibe. You know what I mean? Yeah, for sure.

GARCIA: Good stuff, man. Maybe me, you and Stretch should work on a Latin album at some point. That'd be dope.

GARCIA: I'd love that. And my boy, Carlito Enriques (ph) - you know Carlito? He's a bass player. He plays in the Lincoln Center with Wynton.

GARCIA: OK.

GLASPER: Upright bass player. But we went to college together. So he was always hitting me to Latin music, like so much stuff. You know I mean? He plays with Gonzalo Rubalcaba too and just every, you know, in all kinds of situations. But yeah.

GARCIA: All right, man. I think that's a wrap, Stretch.

BARTOS: Yes, it is. That is our show.

GARCIA: Wait. But that's our season.

GLASPER: Oh, my gosh. Did I just end the Season 2 of Stretch - did I just do that? Bar.

GARCIA: Yeah. You're the closer, yo. You're the closer.

BARTOS: Yeah. We have to thank you for being - that's right - the guest on our final episode of Season 2 of WHAT'S GOOD WITH STRETCH & BOBBITO. Thank you so much.

GLASPER: It's a honor. It's an honor, bro. Appreciate that.

GARCIA: Word up.

GLASPER: Thank you. 'Cause they told me the rest - y'all needed some celebrity 'cause you didn't have much on Season 2. Who'd you have here? Never heard of them.

GARCIA: Lenny Kravitz.

GLASPER: Never heard of them. Yeah.

BARTOS: Badu.

GLASPER: Nah.

BARTOS: Black - what's his name? Black Thinking?

GARCIA: Black Thought.

GLASPER: Got nothing. Nope. Never heard of them. I'm glad I could help y'all out. I'm glad I could help y'all out and give y'all some, you know, something people can chew.

BARTOS: Robert Glasper, everybody.

GARCIA: Applauso.

(APPLAUSE)

GARCIA: Word up. Peace.

(SOUNDBITE OF MUSIC)

BARTOS: That is our show and our season. This podcast was produced by Michelle Lanz, edited by Alexander McCall, Jordana Hochman and N'Jeti Eaton. And our executive producer is Abby O'Neil.

Please remember to fill out our survey at npr.org/podcastsurvey. It will really help us out.

GARCIA: Music is provided by DJ Elly (ph) as well as myself.

And I actually want to shoutout the security in the NPR New York office. Hussein (ph) and Eggo (ph) are just quality individuals. I so look forward to them greeting us when we arrive. They're just lovely human beings. We haven't shouted them out the whole season. So, Eggo, Hussein, y'all the fam.

If you like the show, you can hear more at npr.org. And please go to Apple Podcasts and rate, review and subscribe68. That's how we know you are listening.

BARTOS: And if you'd like to follow us on Twitter, we are @stretchandbob. And on Instagram, we are @stretchandbobbito.

GARCIA: What about peace?

BARTOS: Peace.

GARCIA: Peace.


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点击收听单词发音收听单词发音  

1 hurrah Zcszx     
int.好哇,万岁,乌拉
参考例句:
  • We hurrah when we see the soldiers go by.我们看到士兵经过时向他们欢呼。
  • The assistants raised a formidable hurrah.助手们发出了一片震天的欢呼声。
2 collaborated c49a4f9c170cb7c268fccb474f5f0d4f     
合作( collaborate的过去式和过去分词 ); 勾结叛国
参考例句:
  • We have collaborated on many projects over the years. 这些年来我们合作搞了许多项目。
  • We have collaborated closely with the university on this project. 我们与大学在这个专案上紧密合作。
3 gateway GhFxY     
n.大门口,出入口,途径,方法
参考例句:
  • Hard work is the gateway to success.努力工作是通往成功之路。
  • A man collected tolls at the gateway.一个人在大门口收通行费。
4 genre ygPxi     
n.(文学、艺术等的)类型,体裁,风格
参考例句:
  • My favorite music genre is blues.我最喜欢的音乐种类是布鲁斯音乐。
  • Superficially,this Shakespeare's work seems to fit into the same genre.从表面上看, 莎士比亚的这个剧本似乎属于同一类型。
5 complexity KO9z3     
n.复杂(性),复杂的事物
参考例句:
  • Only now did he understand the full complexity of the problem.直到现在他才明白这一问题的全部复杂性。
  • The complexity of the road map puzzled me.错综复杂的公路图把我搞糊涂了。
6 versatility xiQwT     
n.多才多艺,多样性,多功能
参考例句:
  • Versatility is another of your strong points,but don't overdo it by having too many irons in the fire.你还有一个长处是多才多艺,但不要揽事太多而太露锋芒。
  • This versatility comes from a dual weather influence.这种多样性是由于双重的气候影响而形成的。
7 anticlimactic 23fa1dd348820a89fdc1f11202f5b08c     
adj. 渐降法的, 虎头蛇尾的
参考例句:
  • Everything after the discovery of the murderer was anticlimactic. 找到谋杀者之后,人们对所有事情的兴趣都突减了。
  • The conclusion of the movie was anticlimactic. 电影的结局真没劲。
8 awesome CyCzdV     
adj.令人惊叹的,难得吓人的,很好的
参考例句:
  • The church in Ireland has always exercised an awesome power.爱尔兰的教堂一直掌握着令人敬畏的权力。
  • That new white convertible is totally awesome.那辆新的白色折篷汽车简直棒极了.
9 props 50fe03ab7bf37089a7e88da9b31ffb3b     
小道具; 支柱( prop的名词复数 ); 支持者; 道具; (橄榄球中的)支柱前锋
参考例句:
  • Rescuers used props to stop the roof of the tunnel collapsing. 救援人员用支柱防止隧道顶塌陷。
  • The government props up the prices of farm products to support farmers' incomes. 政府保持农产品价格不变以保障农民们的收入。
10 genres f90f211700b6afeaafe2f8016ddfad3d     
(文学、艺术等的)类型,体裁,风格( genre的名词复数 )
参考例句:
  • Novel and short story are different genres. 长篇小说和短篇小说是不同的类别。
  • But confusions over the two genres have a long history. 但是类型的混淆,古已有之。 来自汉英文学 - 散文英译
11 literally 28Wzv     
adv.照字面意义,逐字地;确实
参考例句:
  • He translated the passage literally.他逐字逐句地翻译这段文字。
  • Sometimes she would not sit down till she was literally faint.有时候,她不走到真正要昏厥了,决不肯坐下来。
12 rehearsal AVaxu     
n.排练,排演;练习
参考例句:
  • I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。
  • You can sharpen your skills with rehearsal.排练可以让技巧更加纯熟。
13 rehearsals 58abf70ed0ce2d3ac723eb2d13c1c6b5     
n.练习( rehearsal的名词复数 );排练;复述;重复
参考例句:
  • The earlier protests had just been dress rehearsals for full-scale revolution. 早期的抗议仅仅是大革命开始前的预演。
  • She worked like a demon all through rehearsals. 她每次排演时始终精力过人。 来自《简明英汉词典》
14 standing 2hCzgo     
n.持续,地位;adj.永久的,不动的,直立的,不流动的
参考例句:
  • After the earthquake only a few houses were left standing.地震过后只有几幢房屋还立着。
  • They're standing out against any change in the law.他们坚决反对对法律做任何修改。
15 random HT9xd     
adj.随机的;任意的;n.偶然的(或随便的)行动
参考例句:
  • The list is arranged in a random order.名单排列不分先后。
  • On random inspection the meat was found to be bad.经抽查,发现肉变质了。
16 weird bghw8     
adj.古怪的,离奇的;怪诞的,神秘而可怕的
参考例句:
  • From his weird behaviour,he seems a bit of an oddity.从他不寻常的行为看来,他好像有点怪。
  • His weird clothes really gas me.他的怪衣裳简直笑死人。
17 hustle McSzv     
v.推搡;竭力兜售或获取;催促;n.奔忙(碌)
参考例句:
  • It seems that he enjoys the hustle and bustle of life in the big city.看起来他似乎很喜欢大城市的热闹繁忙的生活。
  • I had to hustle through the crowded street.我不得不挤过拥挤的街道。
18 audition 8uazw     
n.(对志愿艺人等的)面试(指试读、试唱等)
参考例句:
  • I'm going to the audition but I don't expect I'll get a part.我去试音,可并不指望会给我个角色演出。
  • At first,they said he was too young,but later they called him for an audition.起初,他们说他太小,但后来他们叫他去试听。
19 zoned 1a07bb31ae57d0f013be87dfa4b9cb4a     
adj.划成区域的,束带的v.(飞机、汽车等)急速移动( zoom的现在分词 );(价格、费用等)急升,猛涨
参考例句:
  • This small town has been zoned as a shopping area. 这个小镇已划作商业区。 来自《简明英汉词典》
  • They zoned the house into sleeping, sitting and dining rooms. 他们将房子区分成卧室、客厅和餐厅。 来自《简明英汉词典》
20 strings nh0zBe     
n.弦
参考例句:
  • He sat on the bed,idly plucking the strings of his guitar.他坐在床上,随意地拨着吉他的弦。
  • She swept her fingers over the strings of the harp.她用手指划过竖琴的琴弦。
21 baker wyTz62     
n.面包师
参考例句:
  • The baker bakes his bread in the bakery.面包师在面包房内烤面包。
  • The baker frosted the cake with a mixture of sugar and whites of eggs.面包师在蛋糕上撒了一层白糖和蛋清的混合料。
22 vocal vhOwA     
adj.直言不讳的;嗓音的;n.[pl.]声乐节目
参考例句:
  • The tongue is a vocal organ.舌头是一个发音器官。
  • Public opinion at last became vocal.终于舆论哗然。
23 vocals fe5262cfb22a0b2ee8d36fbf8b3f4942     
(乐曲中的)歌唱部份,声乐部份( vocal的名词复数 )
参考例句:
  • Also look out for soaring vocals on The Right Man. 另外,也可留意一下《意中人》中的那高亢的唱腔。
  • Lazy bass line, lazier drums, lush violins, great piano and incomparable vocals. 懒惰的低音线,较懒惰的鼓,饮小提琴,棒的钢琴和无比的声音。
24 recording UktzJj     
n.录音,记录
参考例句:
  • How long will the recording of the song take?录下这首歌得花多少时间?
  • I want to play you a recording of the rehearsal.我想给你放一下彩排的录像。
25 pastor h3Ozz     
n.牧师,牧人
参考例句:
  • He was the son of a poor pastor.他是一个穷牧师的儿子。
  • We have no pastor at present:the church is run by five deacons.我们目前没有牧师:教会的事是由五位执事管理的。
26 choir sX0z5     
n.唱诗班,唱诗班的席位,合唱团,舞蹈团;v.合唱
参考例句:
  • The choir sang the words out with great vigor.合唱团以极大的热情唱出了歌词。
  • The church choir is singing tonight.今晚教堂歌唱队要唱诗。
27 joint m3lx4     
adj.联合的,共同的;n.关节,接合处;v.连接,贴合
参考例句:
  • I had a bad fall,which put my shoulder out of joint.我重重地摔了一跤,肩膀脫臼了。
  • We wrote a letter in joint names.我们联名写了封信。
28 tragic inaw2     
adj.悲剧的,悲剧性的,悲惨的
参考例句:
  • The effect of the pollution on the beaches is absolutely tragic.污染海滩后果可悲。
  • Charles was a man doomed to tragic issues.查理是个注定不得善终的人。
29 brag brag     
v./n.吹牛,自夸;adj.第一流的
参考例句:
  • He made brag of his skill.他夸耀自己技术高明。
  • His wealth is his brag.他夸张他的财富。
30 bragger 818ff025d42b007adba8a119cee30ae6     
n.吹牛
参考例句:
  • He'd still think you hopeless, but would put you down as a and a bragger too. 他还是会觉得你没有希望,而且会把你当成一个讨厌鬼、一个吹牛大王。 来自互联网
31 daunting daunting     
adj.使人畏缩的
参考例句:
  • They were faced with the daunting task of restoring the house.他们面临着修复房子的艰巨任务。
  • Starting a new job can be a daunting prospect.开始一项新工作有时会让人望而却步。
32 celebrity xcRyQ     
n.名人,名流;著名,名声,名望
参考例句:
  • Tom found himself something of a celebrity. 汤姆意识到自己已小有名气了。
  • He haunted famous men, hoping to get celebrity for himself. 他常和名人在一起, 希望借此使自己获得名气。
33 vice NU0zQ     
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的
参考例句:
  • He guarded himself against vice.他避免染上坏习惯。
  • They are sunk in the depth of vice.他们堕入了罪恶的深渊。
34 subtlety Rsswm     
n.微妙,敏锐,精巧;微妙之处,细微的区别
参考例句:
  • He has shown enormous strength,great intelligence and great subtlety.他表现出充沛的精力、极大的智慧和高度的灵活性。
  • The subtlety of his remarks was unnoticed by most of his audience.大多数听众都没有觉察到他讲话的微妙之处。
35 bass APUyY     
n.男低音(歌手);低音乐器;低音大提琴
参考例句:
  • He answered my question in a surprisingly deep bass.他用一种低得出奇的声音回答我的问题。
  • The bass was to give a concert in the park.那位男低音歌唱家将在公园中举行音乐会。
36 tune NmnwW     
n.调子;和谐,协调;v.调音,调节,调整
参考例句:
  • He'd written a tune,and played it to us on the piano.他写了一段曲子,并在钢琴上弹给我们听。
  • The boy beat out a tune on a tin can.那男孩在易拉罐上敲出一首曲子。
37 trumpet AUczL     
n.喇叭,喇叭声;v.吹喇叭,吹嘘
参考例句:
  • He plays the violin, but I play the trumpet.他拉提琴,我吹喇叭。
  • The trumpet sounded for battle.战斗的号角吹响了。
38 recordings 22f9946cd05973582e73e4e3c0239bb7     
n.记录( recording的名词复数 );录音;录像;唱片
参考例句:
  • a boxed set of original recordings 一套盒装原声录音带
  • old jazz recordings reissued on CD 以激光唱片重新发行的老爵士乐
39 Christian KVByl     
adj.基督教徒的;n.基督教徒
参考例句:
  • They always addressed each other by their Christian name.他们总是以教名互相称呼。
  • His mother is a sincere Christian.他母亲是个虔诚的基督教徒。
40 secular GZmxM     
n.牧师,凡人;adj.世俗的,现世的,不朽的
参考例句:
  • We live in an increasingly secular society.我们生活在一个日益非宗教的社会。
  • Britain is a plural society in which the secular predominates.英国是个世俗主导的多元社会。
41 jaw 5xgy9     
n.颚,颌,说教,流言蜚语;v.喋喋不休,教训
参考例句:
  • He delivered a right hook to his opponent's jaw.他给了对方下巴一记右钩拳。
  • A strong square jaw is a sign of firm character.强健的方下巴是刚毅性格的标志。
42 flute hj9xH     
n.长笛;v.吹笛
参考例句:
  • He took out his flute, and blew at it.他拿出笛子吹了起来。
  • There is an extensive repertoire of music written for the flute.有很多供长笛演奏的曲目。
43 killing kpBziQ     
n.巨额利润;突然赚大钱,发大财
参考例句:
  • Investors are set to make a killing from the sell-off.投资者准备清仓以便大赚一笔。
  • Last week my brother made a killing on Wall Street.上个周我兄弟在华尔街赚了一大笔。
44 timing rgUzGC     
n.时间安排,时间选择
参考例句:
  • The timing of the meeting is not convenient.会议的时间安排不合适。
  • The timing of our statement is very opportune.我们发表声明选择的时机很恰当。
45 improvised tqczb9     
a.即席而作的,即兴的
参考例句:
  • He improvised a song about the football team's victory. 他即席创作了一首足球队胜利之歌。
  • We improvised a tent out of two blankets and some long poles. 我们用两条毛毯和几根长竿搭成一个临时帐蓬。
46 fusion HfDz5     
n.溶化;熔解;熔化状态,熔和;熔接
参考例句:
  • Brass is formed by the fusion of copper and zinc. 黄铜是通过铜和锌的熔合而成的。
  • This alloy is formed by the fusion of two types of metal.这种合金是用两种金属熔合而成的。
47 acoustic KJ7y8     
adj.听觉的,声音的;(乐器)原声的
参考例句:
  • The hall has a fine acoustic.这个大厅的传音效果很好。
  • Animals use a whole rang of acoustic, visual,and chemical signals in their systems of communication.动物利用各种各样的听觉、视觉和化学信号来进行交流。
48 flip Vjwx6     
vt.快速翻动;轻抛;轻拍;n.轻抛;adj.轻浮的
参考例句:
  • I had a quick flip through the book and it looked very interesting.我很快翻阅了一下那本书,看来似乎很有趣。
  • Let's flip a coin to see who pays the bill.咱们来抛硬币决定谁付钱。
49 legacy 59YzD     
n.遗产,遗赠;先人(或过去)留下的东西
参考例句:
  • They are the most precious cultural legacy our forefathers left.它们是我们祖先留下来的最宝贵的文化遗产。
  • He thinks the legacy is a gift from the Gods.他认为这笔遗产是天赐之物。
50 helping 2rGzDc     
n.食物的一份&adj.帮助人的,辅助的
参考例句:
  • The poor children regularly pony up for a second helping of my hamburger. 那些可怜的孩子们总是要求我把我的汉堡包再给他们一份。
  • By doing this, they may at times be helping to restore competition. 这样一来, 他在某些时候,有助于竞争的加强。
51 racism pSIxZ     
n.民族主义;种族歧视(意识)
参考例句:
  • He said that racism is endemic in this country.他说种族主义在该国很普遍。
  • Racism causes political instability and violence.种族主义道致政治动荡和暴力事件。
52 narrative CFmxS     
n.叙述,故事;adj.叙事的,故事体的
参考例句:
  • He was a writer of great narrative power.他是一位颇有记述能力的作家。
  • Neither author was very strong on narrative.两个作者都不是很善于讲故事。
53 liberated YpRzMi     
a.无拘束的,放纵的
参考例句:
  • The city was liberated by the advancing army. 军队向前挺进,解放了那座城市。
  • The heat brings about a chemical reaction, and oxygen is liberated. 热量引起化学反应,释放出氧气。
54 overalls 2mCz6w     
n.(复)工装裤;长罩衣
参考例句:
  • He is in overalls today.他今天穿的是工作裤。
  • He changed his overalls for a suit.他脱下工装裤,换上了一套西服。
55 funky 1fjzc     
adj.畏缩的,怯懦的,霉臭的;adj.新式的,时髦的
参考例句:
  • The kitchen smelled really funky.这个厨房有一股霉味。
  • It is a funky restaurant with very interesting art on the walls.那是一家墙上挂着很有意思的绘画的新潮餐馆。
56 brutal bSFyb     
adj.残忍的,野蛮的,不讲理的
参考例句:
  • She has to face the brutal reality.她不得不去面对冷酷的现实。
  • They're brutal people behind their civilised veneer.他们表面上温文有礼,骨子里却是野蛮残忍。
57 shred ETYz6     
v.撕成碎片,变成碎片;n.碎布条,细片,些少
参考例句:
  • There is not a shred of truth in what he says.他说的全是骗人的鬼话。
  • The food processor can shred all kinds of vegetables.这架食品加工机可将各种蔬菜切丝切条。
58 sniff PF7zs     
vi.嗅…味道;抽鼻涕;对嗤之以鼻,蔑视
参考例句:
  • The police used dogs to sniff out the criminals in their hiding - place.警察使用警犬查出了罪犯的藏身地点。
  • When Munchie meets a dog on the beach, they sniff each other for a while.当麦奇在海滩上碰到另一条狗的时候,他们会彼此嗅一会儿。
59 bail Aupz4     
v.舀(水),保释;n.保证金,保释,保释人
参考例句:
  • One of the prisoner's friends offered to bail him out.犯人的一个朋友答应保释他出来。
  • She has been granted conditional bail.她被准予有条件保释。
60 percussion K3yza     
n.打击乐器;冲突,撞击;震动,音响
参考例句:
  • In an orchestra,people who play percussion instruments sit at the back.在管弦乐队中,演奏打击乐器的人会坐在后面。
  • Percussion of the abdomen is often omitted.腹部叩诊常被省略。
61 autonomous DPyyv     
adj.自治的;独立的
参考例句:
  • They proudly declared themselves part of a new autonomous province.他们自豪地宣布成为新自治省的一部分。
  • This is a matter that comes within the jurisdiction of the autonomous region.这件事是属于自治区权限以内的事务。
62 slay 1EtzI     
v.杀死,宰杀,杀戮
参考例句:
  • He intended to slay his father's murderer.他意图杀死杀父仇人。
  • She has ordered me to slay you.她命令我把你杀了。
63 aged 6zWzdI     
adj.年老的,陈年的
参考例句:
  • He had put on weight and aged a little.他胖了,也老点了。
  • He is aged,but his memory is still good.他已年老,然而记忆力还好。
64 hysterically 5q7zmQ     
ad. 歇斯底里地
参考例句:
  • The children giggled hysterically. 孩子们歇斯底里地傻笑。
  • She sobbed hysterically, and her thin body was shaken. 她歇斯底里地抽泣着,她瘦弱的身体哭得直颤抖。
65 notches be2894ea0263799fb95b9d050d295b3d     
n.(边缘或表面上的)V型痕迹( notch的名词复数 );刻痕;水平;等级
参考例句:
  • The Indians cut notches on a stick to keep count of numbers. 印第安人在棒上刻V形凹痕用来计数。 来自《现代英汉综合大词典》
  • They cut notches in the handle of their pistol for each man they shot. 他们每杀一个人就在枪托上刻下一个V形记号。 来自辞典例句
66 tsunami bpAyo     
n.海啸
参考例句:
  • Powerful quake sparks tsunami warning in Japan.大地震触发了日本的海啸预警。
  • Coastlines all around the Indian Ocean inundated by a huge tsunami.大海啸把印度洋沿岸地区都淹没了。
67 technically wqYwV     
adv.专门地,技术上地
参考例句:
  • Technically it is the most advanced equipment ever.从技术上说,这是最先进的设备。
  • The tomato is technically a fruit,although it is eaten as a vegetable.严格地说,西红柿是一种水果,尽管它是当作蔬菜吃的。
68 subscribe 6Hozu     
vi.(to)订阅,订购;同意;vt.捐助,赞助
参考例句:
  • I heartily subscribe to that sentiment.我十分赞同那个观点。
  • The magazine is trying to get more readers to subscribe.该杂志正大力发展新订户。

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