first single, "Calls," features vocals by Jill Scott. It's a dreamy, repetitive, nocturnal, neo-soul groover with Glasper's Rhodes and Benjamin's synths sparkling above the clipped rhythm. The RGE weds neo-soul to hip-hop to very fluid jazz on "Worries" with Dwele. The popping snare and toms are accented by Glasper's acoustic piano and a bumping, bubbling bassline from Hodge, as the vocalist alternately sings and raps. Anthony Hamilton offers an exquisite, deeply moving vocal on "Yet to Find," a tune that weds adult contemporary R&B to modern gospel seamlessly and convincingly. Faith Evans underscores the pop/R&B notion on "You Own Me," a track illustrated by Glasper's crystalline middle-register piano, Benjamin's winding, circular synth line, and Colenburg's ticking, in-the-pocket hi-hat. The set's most bracing cut is "Let It Ride." Itwas written by Glasper and Munsinah, and driven by Colenburg's dazzling breakbeat snare, which is so accurate it could be a loop. It's mixed far above the acoustic piano vamp, an atmospheric Rhodes, layered synths, and a sparse, seductive bassline. Norah Jones' slippery, slurry, vocal phrasing rises over the top, making the track an expansive, syncopated meld of dubstep, jazz, and pop. The set closer is a cover of Stevie Wonder's "Jesus Children." Introduced by the RGE in a nearly modal m?lange of acoustic piano, electric bass, and skittering snare, vocalist Lalah Hathaway finds the melody and adds her signature utterance, which is equal parts gospel, old-school soul, and bluesy jazz. She trades verses with Malcolm Jamal Warner, who delivers a searing, spoken tribute to the victims of