Chords for Miles Davis & Robert Glasper - Everything's Beautiful (Mini Documentary)
Tempo:
92.25 bpm
Chords used:
G
C
Bm
D
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bm] [A] [Am] Yeah.
Sounds [B] so wonderful.
[G] I feel like [D] I'm [G] living in the spirit of Miles when I'm doing what I'm doing, because I'm
documenting my time period.
I'm documenting what's around me, I'm documenting who I am now, where music is now, and that's
kind of what this project was about.
It wasn't [G#] about [Em] taking Miles and remixing him again, but it's [F#] like, let's do something
to [C] where we can take some of Miles' [Bm] ideas, shake them up, and try to show the [C#m] influence
of Miles and make new things.
Seeing Robert's excitement at the idea of getting his hands on some of [G] these tracks
and seeing what he could do, he could do his thing, and then he could collaborate with
other artists, and it [D] felt like such a [F#] [C#] good fit.
[G] We're always trying to go [C#] to the next [Bm] level with the music and reach wider audiences.
That's our thing.
What I want to portray with this is Miles' influence all the way up to now.
[F] Would he be working with Erykah Badu?
Cosmic blues,
[C] [F] [C] but you keep coming [G] back.
Would he be working with [D] 9th Wonder?
Yo, blues and greens and [Am] violets, eyes get heavy with the weight [B] of the world around
the [G] iris, it's like something insane, it's like a [F#] virus.
All these people that are doing stuff [D] now, [G#] and the answer is yes, I'm sure he would.
[Em] When they let me in the vault, I heard songs I never heard before.
And there were some songs that never made it to the light of day, and some songs you
have that you know.
One of the songs was Ghetto Walk.
[C] [Em]
[C] Through that, [E] we sampled a [A] piece of that [G] and made this [E] song called Ghetto Walk that I put Balao [G] on.
When [C] I was young, nobody told [G] me, don't [C] fall for trash.
[E] I'd rack my brain if he were, he'd be with the [G] music because [Em] the possibilities of doing
certain things are there that weren't before.
[Bm] Being able to go into the vaults allowed me to hear these songs I never heard, but also
allowed me to get a lot of [D#] audio of Miles just talking.
For instance, on this song that we did with Legacy and John [Bm] Scofield, [D] on the chorus, I
took Miles' voice from one of those recordings.
He was just saying, wait a minute, wait a minute.
So I chopped that, used that as a part of the actual [E] chord.
[G#] Everybody [E] loves Miles, man.
It's a universal love and appeal this man has.
The whole project is based on Miles, but it's based on Miles' vision, it's based on Miles'
trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on
[G#] Miles' influence, it's based on Miles' swag.
Sounds [B] so wonderful.
[G] I feel like [D] I'm [G] living in the spirit of Miles when I'm doing what I'm doing, because I'm
documenting my time period.
I'm documenting what's around me, I'm documenting who I am now, where music is now, and that's
kind of what this project was about.
It wasn't [G#] about [Em] taking Miles and remixing him again, but it's [F#] like, let's do something
to [C] where we can take some of Miles' [Bm] ideas, shake them up, and try to show the [C#m] influence
of Miles and make new things.
Seeing Robert's excitement at the idea of getting his hands on some of [G] these tracks
and seeing what he could do, he could do his thing, and then he could collaborate with
other artists, and it [D] felt like such a [F#] [C#] good fit.
[G] We're always trying to go [C#] to the next [Bm] level with the music and reach wider audiences.
That's our thing.
What I want to portray with this is Miles' influence all the way up to now.
[F] Would he be working with Erykah Badu?
Cosmic blues,
[C] [F] [C] but you keep coming [G] back.
Would he be working with [D] 9th Wonder?
Yo, blues and greens and [Am] violets, eyes get heavy with the weight [B] of the world around
the [G] iris, it's like something insane, it's like a [F#] virus.
All these people that are doing stuff [D] now, [G#] and the answer is yes, I'm sure he would.
[Em] When they let me in the vault, I heard songs I never heard before.
And there were some songs that never made it to the light of day, and some songs you
have that you know.
One of the songs was Ghetto Walk.
[C] [Em]
[C] Through that, [E] we sampled a [A] piece of that [G] and made this [E] song called Ghetto Walk that I put Balao [G] on.
When [C] I was young, nobody told [G] me, don't [C] fall for trash.
[E] I'd rack my brain if he were, he'd be with the [G] music because [Em] the possibilities of doing
certain things are there that weren't before.
[Bm] Being able to go into the vaults allowed me to hear these songs I never heard, but also
allowed me to get a lot of [D#] audio of Miles just talking.
For instance, on this song that we did with Legacy and John [Bm] Scofield, [D] on the chorus, I
took Miles' voice from one of those recordings.
He was just saying, wait a minute, wait a minute.
So I chopped that, used that as a part of the actual [E] chord.
[G#] Everybody [E] loves Miles, man.
It's a universal love and appeal this man has.
The whole project is based on Miles, but it's based on Miles' vision, it's based on Miles'
trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on
[G#] Miles' influence, it's based on Miles' swag.
Key:
G
C
Bm
D
E
G
C
Bm
[Bm] _ _ _ [A] _ [Am] Yeah.
Sounds [B] so wonderful.
[G] _ _ I feel like [D] I'm [G] living in the spirit of Miles when I'm doing what I'm doing, because I'm
documenting my time period.
I'm documenting what's around me, I'm documenting who I am now, where music is now, and that's
kind of what this project was about.
It wasn't [G#] about [Em] taking Miles and remixing him again, but it's [F#] like, let's do something
to [C] where we can take some of Miles' [Bm] ideas, shake them up, and try to show the [C#m] influence
of Miles and make new things.
Seeing Robert's excitement at the idea of getting his hands on some of [G] these tracks
and seeing what he could do, he could do his thing, and then he could collaborate with
other artists, and it [D] _ felt like such a [F#] [C#] good fit.
[G] We're always trying to go [C#] to the next [Bm] level with the music and reach wider audiences.
That's our thing.
What I want to portray with this is Miles' influence all the way up to now.
[F] Would he be working _ with Erykah Badu?
Cosmic blues, _ _ _
[C] _ _ _ _ [F] _ [C] but you keep coming [G] back.
Would he be working with [D] 9th Wonder?
Yo, blues and greens and [Am] violets, eyes get heavy with the weight [B] of the world around
the [G] iris, it's like something insane, it's like a [F#] virus.
All these people that are doing stuff [D] now, [G#] and the answer is yes, I'm sure he would. _ _ _ _ _ _
[Em] When they let me in the vault, I heard songs I never heard before.
And there were some songs that never made it to the light of day, and some songs you
have that you know.
One of the songs was Ghetto Walk.
_ _ _ _ [C] _ _ _ [Em] _
_ [C] Through that, [E] we sampled a [A] piece of that [G] and made this [E] song called Ghetto Walk that I put Balao [G] on.
When [C] I was young, nobody told [G] me, don't [C] fall for trash.
[E] I'd rack my brain if he were, he'd be with the [G] music because [Em] the possibilities of doing
certain things are there that weren't before.
[Bm] Being able to go into the vaults allowed me to hear these songs I never heard, but also
allowed me to get a lot of [D#] audio of Miles just talking.
For instance, on this song that we did with Legacy and John [Bm] Scofield, [D] on the chorus, I
took Miles' voice from one of those recordings.
He was just saying, wait a minute, wait a minute.
So I chopped that, used that as a part of the actual [E] chord. _ _ _ _
[G#] _ Everybody [E] loves Miles, man.
It's a universal love and appeal this man has.
The whole project is based on Miles, but it's based on Miles' vision, it's based on Miles'
trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on
[G#] Miles' influence, it's based on Miles' swag.
_ _ _ _ _ _ _ _
Sounds [B] so wonderful.
[G] _ _ I feel like [D] I'm [G] living in the spirit of Miles when I'm doing what I'm doing, because I'm
documenting my time period.
I'm documenting what's around me, I'm documenting who I am now, where music is now, and that's
kind of what this project was about.
It wasn't [G#] about [Em] taking Miles and remixing him again, but it's [F#] like, let's do something
to [C] where we can take some of Miles' [Bm] ideas, shake them up, and try to show the [C#m] influence
of Miles and make new things.
Seeing Robert's excitement at the idea of getting his hands on some of [G] these tracks
and seeing what he could do, he could do his thing, and then he could collaborate with
other artists, and it [D] _ felt like such a [F#] [C#] good fit.
[G] We're always trying to go [C#] to the next [Bm] level with the music and reach wider audiences.
That's our thing.
What I want to portray with this is Miles' influence all the way up to now.
[F] Would he be working _ with Erykah Badu?
Cosmic blues, _ _ _
[C] _ _ _ _ [F] _ [C] but you keep coming [G] back.
Would he be working with [D] 9th Wonder?
Yo, blues and greens and [Am] violets, eyes get heavy with the weight [B] of the world around
the [G] iris, it's like something insane, it's like a [F#] virus.
All these people that are doing stuff [D] now, [G#] and the answer is yes, I'm sure he would. _ _ _ _ _ _
[Em] When they let me in the vault, I heard songs I never heard before.
And there were some songs that never made it to the light of day, and some songs you
have that you know.
One of the songs was Ghetto Walk.
_ _ _ _ [C] _ _ _ [Em] _
_ [C] Through that, [E] we sampled a [A] piece of that [G] and made this [E] song called Ghetto Walk that I put Balao [G] on.
When [C] I was young, nobody told [G] me, don't [C] fall for trash.
[E] I'd rack my brain if he were, he'd be with the [G] music because [Em] the possibilities of doing
certain things are there that weren't before.
[Bm] Being able to go into the vaults allowed me to hear these songs I never heard, but also
allowed me to get a lot of [D#] audio of Miles just talking.
For instance, on this song that we did with Legacy and John [Bm] Scofield, [D] on the chorus, I
took Miles' voice from one of those recordings.
He was just saying, wait a minute, wait a minute.
So I chopped that, used that as a part of the actual [E] chord. _ _ _ _
[G#] _ Everybody [E] loves Miles, man.
It's a universal love and appeal this man has.
The whole project is based on Miles, but it's based on Miles' vision, it's based on Miles'
trumpet, it's based on Miles' voice, it's based on Miles' composition, it's based on
[G#] Miles' influence, it's based on Miles' swag.
_ _ _ _ _ _ _ _