Robert Glasper, now nominated for his 16th Grammy Award, reveals how his relationship with Norah Jones launched his career and why he trusts the universe — not trends or industry noise — to guide his art.
When Robert Glasper received his 16th Grammy nomination for Best Alternative Jazz Album for Keys to the City Volume One, it wasn’t just another milestone — it was a return to his roots. The pianist and producer, now 47, didn’t just celebrate the honor; he reflected deeply on its meaning — especially since this category represents jazz’s evolution in the Recording Academy’s eyes.
Glasper’s journey from Houston’s piano benches to international acclaim is defined by authenticity. “I remember the days where no one cared,” he says. “Now I’m honored to be recognized alongside legends.” His new nomination marks a triumphant moment — not just because of the award itself, but because it validates his unique blend of jazz, R&B, and hip-hop innovation.
The album, a live recording from his annual “Robtober” residency at New York’s Blue Note, showcases Glasper’s signature style — improvisational, genre-blurring, emotionally resonant. It also highlights his philosophy: music should serve people, not trends.
His advice to young artists? “Always walk to the beat of your own drum.” He warns against chasing fleeting musical fads — something he’s seen too many artists fall into. “They attach themselves to a trend,” he explains, “and when that trend leaves, they leave with it.” For Glasper, staying true means staying relevant — even when genres shift.
He’s experimented across countless styles — from scoring Issa Rae’s The Photograph to collaborating with Kendrick Lamar and Anderson .Paak — yet he still finds inspiration in unexpected places. “There’s infinite possibilities,” he says, adding that hip-hop’s infiltration into every genre has made blending styles more natural than ever.
And who better to trust than the universe? Glasper calls himself “the universe’s coproducer.” When asked if he’s ever felt pressure to conform to industry expectations, he laughs. “I’m steering my ship,” he says. “It’s not steering me.” That carefree attitude — born from confidence in his vision — fuels his creativity.
One of his most cherished moments came through his lifelong friend Norah Jones. They met at jazz camp in Texas during high school — a formative experience that led to her signing him after her breakthrough. “She helped jumpstart my career without even realizing it,” Glasper recalls. Their bond remains unshaken — even when fame separates them.
“It’s always cool when you know somebody from the beginnings,” he says. “You see them blow up and they’re still good people.” That loyalty — forged over decades — contrasts sharply with the industry’s often transactional nature. “I hate it when people change,” Glasper adds. “Where’s my caviar? And Champagne?”
He credits Jones not only for launching his career but for teaching him how to embrace collaboration — even when it means playing songs differently than intended. “We did ‘Prototype’ from Outkast’s Love Below album,” he says. “She sang a different song — and that’s what made it magical.”
His perspective on success has evolved dramatically since his early days. “When I first started, I wanted to be the best,” he admits. “I wanted to kill everybody.” Now, he sees music as life-changing. “People tell me my music stopped them from hurting themselves,” he shares. “Others say they birthed their child because of it. Or started playing piano because of me.”
Those testimonials remind him why he creates — not for awards or charts, but for connection. “I’m the soundtrack to some people’s lives,” he says. “That’s what it’s for.”
For Glasper, the Grammys are less about accolades and more about validation — a reminder that his voice matters. “The fact that the Grammys feel like I’m in that elite class… it’s always a compliment,” he says. “It’s never going to get old.”
As he prepares for his next chapter — whether it’s scoring films or releasing albums — Glasper remains grounded. “I don’t need to impress other musicians anymore,” he says. “I just need to make music that matters to me.”
His mantra? “Trust yourself. Trust the people around you. Trust the universe.” Magic, he insists, comes from surrendering to the unknown — and letting the wind carry you wherever it goes.
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