A Quote by Robert Glasper

Jazz stopped being creative in the early '80s. After your acoustic era, where you had the likes of the Miles Davis Quintet, when it gets to the '70s it started being jazz fusion where you had more electronic stuff happening, then in the '80s they started trying to bring back the acoustic stuff, like Branford Marsalis and the Wynton Marsalis & Eric Clapton sextet. It started dying down from there. Miles was still around in the '80s and he was still being creative; he was playing Michael Jackson songs and changing sounds, but a lot of people were still trying to regurgitate the old stuff.
I've got all of the old school vinyls from the '70s - even further back, like the jazz music in the '40s, '50s, '60s. Then I've got all the '80s stuff underground, hip-hop when hip-hop really first started. The '90s stuff. All of the good stuff, because I'm really into music, and it helps me create new songs now.
I started off playing by ear, and being around a bunch of musicians and playing in the streets and in the different parades and, then, I got accepted to go to New Orleans Center for Creative Artists ... it's where Wynton Marsalis, Harry Connick, Jr. and all those guys went out.
As a kid, my parents had the typical stuff going on in the home, like Bee Gees, The Carpenters. Then I got exposed to what my brothers were listening to: a lot of classic rock, Led Zeppelin. It was around the mid-'80s when the whole Electro-Techno-Pop-House music thing started happening in Chicago.
I mean, the thing about Guns N' Roses was that it wasn't trying to attach itself to the '80s, or anything that had to do with the '80s. It's just who we were at that time. We were doing what we wanted to do. That had really nothing to do with anything around us, except for the simple fact that we were rebelling against that stuff.
I go back to the old school days of that Attitude Era stuff. Everybody knows when I speak of the Attitude Era, my favorite stuff is of the mid-'80s, all that NWA stuff, the World Class stuff, the stuff that Bill Watts was doing.
Like my fictional protagonist Tom Thorne, I love country. My tastes go back a bit further than his do, and I still listen to stuff from the late '70s and early '80s.
It has been difficult to hold onto many paintings but I have retained a few. Possibly the current favorite is titled 'Big Band' completed in 2005. It measures 13 feet x 9 feet. It has 18 nearly life size recognizable portraits of the biggest jazz stars that I knew and saw perform in the 1950s, '60s, '70s, '80s and includes Wynton Marsalis.
You couldn't define the '80s when the '80s were happening. We kept changing. We had shoulder pads, then we didn't. It was revealing, and then it was decoration. It was a lot of things at once. It was defined when it was over.
I started out trying to play more straight-ahead jazz. I went to Berklee in the early '60s when it was a brand new school, and so there was no fusion music. There wasn't a lot of mixing together of different kinds of music at that time, so jazz was kind of pure jazz.
I love like the 80s look - 80s and early 90s, like the high-waisted jeans and the crop tops, and the floral prints, and flowers and stuff like that. Big baggy jumpers... yeah, stuff like that.
Everyone knows Earth, Wind & Fire. We know 'September,' all the big sort of hits from going out and dancing and stuff. When I was developing St. Lucia, I really started listening a little bit deeper, listening back to their stuff from the '70s and '80s, and really dug into it.
My playing started to develop through the Miles Davis stuff I was listening to.
Throughout the late '80s, me and a handful of friends just like you people here, we started to break windows, we started to slash tires, we started to rescue animals from factory farms and vivisection breeders, and we graduated to breaking into laboratories . As long as we emptied the labs of animals, they were still easily replaced. So that's when the ALF in this country, and my cell, started engaging in arson.
People have come up and told me they were WCW fans from the early '90s, or they were watching my work in FCW when I first started in the late '80s, and they'll spit out a match of mine that they still remember. I stand there in awe, shocked that someone still remembers.
Kenny G is not real jazz. I don't even think Wynton Marsalis is real jazz. I don't think Harry Connick Jr. is real jazz. If there is such a thing as real jazz, The Lounge Lizards is real jazz, Henry Threadgill is real jazz, Bill Frisell is real jazz, you know?
When I started law school I was shocked to learn that our legal system traditionally had the man as the head and master of the family. As late as the '70s and '80s when we were fighting for the Equal Rights Amendment, states like Louisiana still had a head and master law.
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