Everything's beautiful

"By being respectful of the artist's legacy while also making some smart, contemporary production choices, Glasper's best work proves an an ideal vehicle for paying tribute to an artist who had a firm feel for tradition, but who never stayed fixed in one place for very long".

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"Just as Davis himself seemed to be at the forefront of every new jazz style throughout his career, Glasper has been part of a new, burgeoning jazz movement, injecting elements of soul, electronic, funk, and hip-hop into his music to revitalize the old jazz genre. In the end, Everything's Beautiful is not the real tribute; it's Glasper's determination to evolve the genre that is, and I don't think Miles Davis would have it any other way".

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""Everything's Beautiful" isn't quite a tribute or a remix project. It's not a collaboration between Miles Davis and Robert Glasper, as it is billed. On the surface, from a stylistic standpoint and in terms of personnel, it is closer to a sequel to "Black Radio Recovered". Predominantly relaxed and rather ethereal, richly layered yet not quite psychedelic, and rhythmically hip-hop more than anything else, the two releases feature much of the same production and vocal lineup ... Bill Evans' piano from "Blue in Green," as heard on 9th Wonder and Phonte's "Violets," and Davis' trumpet from "Maiysha," are among the more familiar elements. The latter arrives during Erykah Badu's bossa nova vocalese version of the same-titled song, one of the album's most creative moments".

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"Miles Davis var aldrig bange for med åbent sind at udforske nyt materiale, men han var samtidig en mester i fortolkning og forvandling af et kendt pensum inden for såvel jazzens som poppens verden. Derfor er der en logik i, at den anerkendte amerikanske musiker og producer Robert Glasper med albummet "Everything's Beautiful" tager et kunstgreb om en række mere eller mindre kendte Miles Davis-indspilninger. Med tidens teknologi skiller han dem ad og gør dem modigt til sine egne i selskab med forskellige gæster".