Glasper builds something patient and alive from Davis' ghost, letting space breathe.
The album moves slowly at first, keys and bass establishing a low, intimate temperature. Robert Glasper doesn't rush. There's space between the notes—deliberate, almost cautious—before rhythm enters. When percussion comes, it's textured and understated: Erykah Badu and Rashad Smith add layers that feel discovered rather than imposed. Derrick Hodge and Braylon Lacy on bass create a foundation that's both solid and conversational, responding to what's happening around them. Danny Leznoff's guitar work is spare and considered. Hiatus Kaiyote appears as a presence rather than an obvious feature. The whole thing has the quality of a late-night session where everyone is listening hard.
Everything's Beautiful uses Miles Davis samples as a starting point but doesn't genuflect to them. Glasper treats Davis' voice and music as material to reshape, not as sacred text. The album sits comfortably in his larger body of work—it's not a radical departure, but it's not a typical release either. By this point in his career, Glasper had already established himself as someone interested in blending jazz language with contemporary production and soul sensibility. This record leans into that instinct while maintaining the patient, ensemble-first approach that defined his best work.
Released on May 27, 2016, through Blue Note and Legacy/Columbia, the album found an audience among listeners who appreciated Glasper's willingness to honor Davis without trying to duplicate him. It works best as a listen for people already attuned to his sensibility—those who value restraint and textural detail over obvious virtuosity.