Robert Glasper

robert glasper’s name pops up in some wild places if you’re a movie nerd. He’s not the guy front and center—he’s the guy making the movies *feel* a certain way, you know? Like in “13th,” Ava DuVernay’s hard-hitting doc about the U.S. prison system, Glasper’s music is just there, humming under the skin, making the whole thing sting a little more. He’s not just background noise; his score gets in your bones. Then there’s “Miles Ahead,” that trippy Don Cheadle flick about Miles Davis. Glasper’s fingerprints are all over the soundtrack. It’s not just old jazz standards, it’s reimagined, kind of like if Miles Davis got time-warped into now. It makes the whole film feel alive, not some dusty biopic. Glasper just gets the vibe, makes the music punch through the screen. And, oh, “The Photograph.” Now that movie—Issa Rae, LaKeith Stanfield, romantic tension you could cut with a butter knife—Glasper’s smooth, jazzy touch on the score? It’s basically one of the characters. The music in that film is like this warm hug and a little bit of late-night longing. The thing is, Glasper’s not just a musician tossed into movie credits to fill space. When you see his name on a soundtrack, you know you’re getting something special. He knows how to set a mood, create a world, and sneak into your feelings without you even noticing. That’s not easy, but Glasper makes it sound effortless.