This is starting to become a habit: For what I believe is the third year running, jazz pianist Robert Glasper is taking over the Dakota for a full weekend in January. Born late enough (1978) to come up on hip-hop and neo-soul, Glasper is probably best known outside of jazz for his keyboard work on Kendrick Lamar’s To Pimp a Butterfly, which was integral in defining that album’s sound. In the past two decades, he has achieved crossover success at Blue Note with his feature-heavy Black Radio releases, the third and most recent of which offered Killer Mike, Jennifer Hudson, Me’Shell Ndegéocello, Q-Tip, Esperanza Spalding, and many, many—many—more guests. It’s tempting to call Glasper’s music “fusion,” but that term implies the forced yoking of disparate styles; instead, Glasper treats contemporary Black music as a smooth confluence of genres. This three-night stand will give him plenty of time to demonstrate his range of influence and abilities in a more jazz-centered context.