Chords for Robert Glasper - Life, Music and Passion

_ _ _ [C] _ _ _ _ _
_ [Am] _ _ _ _ _ _ _
[Bb] _ _ _ _ [Am] _ _ _ _
_ _ [Em] _ _ [F] This is Robert Glasper and [Bb] I [E] rock jazz.
Playing isn't a job.
_ It doesn't feel like a job.
I'm literally doing _ my _ hobby.
I'm doing what I love to do.
I grew up in church.
And a lot of the most amazing musicians,
especially young African-American musicians,
[F] come from church.
[Bb] You know, _ that's where we're bred.
And _ [Am] a lot of our great musicians are stuck there.
_ Because that's where they're used [F] to being.
[A] They've been making money for years there.
They're comfortable [C] there.
_ Why don't they get up and leave that?
They're making a certain amount of money a week.
[F] They're comfortable.
They're good.
[Em] _ But they don't reach for anything new.
They don't reach for anything.
It's [D] just a job.
You know what I mean?
So one of the things I try to do is [Am] to get young church cats _
[G] to check out more music, to come check [Cm] us out,
talk to them, give them [G] music,
_ [D] have conversations with them about music
so they can try to reach for something else
because they're so talented.
[Cm] I feel like I've [Bb] made it to where young people can say,
oh [Am] yes, you [G] mean I can play music that I like?
[B] You know what I mean?
Because a lot of times you come up,
[Am] _ especially if you went to a conservatory
or any kind of music school,
you feel like [Db] the music is a certain [E] way.
Like, okay, this is jazz.
This is what it sounds like.
And [C] you may love to play it,
but there's a certain [Dm] part of you that doesn't feel [Bb] free.
[F] It feels like _ you're always paying homage [G] to something
every time you play.
[F] You know what I mean?
That's how I feel when I hear a lot of people play jazz.
I feel like every time they [A] hit the stage,
they're paying tribute,
[F] _ _
which is fine in a sense,
but at the same time, nah. _
At the same time, you have to make your own mark.
You have to be free.
That's what the music is about.
It's about freedom.
[E] With Blue Note, when I first got signed,
Bruce Lundvall [D] called me into [B] his office.
I walked in there, and I had written out
kind of like [A] a little thing of what the record was going to be,
what I wanted it [Am] to be.
And I started talking about it,
and he was like, Robert, [C] stop.
[Bb] He was like, you're the artist.
I [D] signed you.
I trust you.
Do what you want.
It's our job to sell it.
When you become an R&B singer or something like that,
your budget's going to be $250,000.
That's on the low end.
[B] A $250,000 budget,
they're going to look to [G] recoup all that.
So [Bb] they want you to make money.
You know what I mean?
[C] So that's when they kind of try to control you.
[Dm] Blue Note gives you like $7.50.
They're like, whatever.
That's a bag of Doritos and a snicker bar.
That is your_
That's your budget.
[A] That's a jazz budget.
We don't have, there's jazz money.
And it doesn't take a lot to make a jazz record.
You kind of go in and hit.
You're not working with a million producers
and have to pay that producer.
_ _ All that comes with it, and videos, and [Bb] wardrobe,
blah, blah, blah, blah.
So it's pretty [C] easy.
So they don't look [E] for us for much.
I mean, [F] the music in itself just doesn't get enough respect.
[Bb] It's like [C] we're doing music that's,
[D] you know, when you do music that [F] has some integrity to it,
that doesn't really, _ _ it's not really gonna sell.
Or the powers that be, they're looking at numbers
and they're seeing like, oh, he's not selling a million records.
[B] So no, he can't do Super Bowl.
They probably want to get people who are [Bm] doing music
probably that has less [Bb] integrity,
_ [Am] because that sells more.
[D] I get [Eb] a very mixed [Em] clientele.
It's pretty much, I still have my older [Bb] audience,
_ [D] and I'm adding a younger audience to the older audience.
The older audience are still coming.
_ [Dm] _ I make [G] that joke all the time.
[Bb] I've seen so many [B] times where I'll see a young 17-year-old black dude
and an 80-year-old white [D] lady sitting next to each other,
you know, both Bob and Adila, or something like that.
_ And then I'll flip it around and play a standard.
And then she's like, yeah, and then he's like, oh, okay.
You know, they're both getting something that they both identify with.
If I [C] do a hip-hop club, [B] that club has a whole different clientele
than the jazz [F] club has.
Wherever I go, [Bb] my jazz fans are gonna know I'm there.
_ [D] So it doesn't matter what venue.
[A] But I'm trying to get people who don't normally come see me play [G]
to come out.
[F] So it makes sense to just go to do another venue,
[Am]
and that venue has a whole different [D] clientele.
I'm on their calendar, they're sending out emails
to all these other people who have nothing to [Bb] do with a jazz club.
So [Gm] I get the best of both.
I get both.
You know what I mean? _ _
And people will be more inclined to come check it out.
[Am] _ My next project, I have a few different options in my mind.
I'm thinking of which one I want to actually pursue first.
_ You know, I definitely want [Gm] to do another trio record.
_ [C] _ _ [Gm] So I'm thinking I may do a trio record, like [C] a live somewhere. _
_ _ _ [Gm] For the jazz camp.
_ [E] _
Fill my need for that.
And then I may do, I'm thinking about doing another album
on the [Am] vibe of kind of this one.
Just having [Bb] some guests, but even having guests that I haven't worked with before.
[Em] You know what I mean?
Because this album was full of guests that [Dm] I've worked with before,
on some _ _ level.
But I want to do a record of people that [N] I want to work with
that I've never worked with before. _ _ _
_ _ _ _ I love it!
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