In the United States, the album peaked at number 152 on the Billboard 200, at number-one on both the Top Contemporary Jazz Albums and Jazz Albums, at number five on the Top R&B Albums, at number 10 on the Top R&B/Hip-Hop Albums, and at number 17 on the Tastemakers. It also reached number 50 in Switzerland, number 85 in the Netherlands, number 94 in Germany, number 178 in France, and number 44 and number 118 in Flanders and Wallonia (Belgium) respectively.
Everything's Beautiful was met with generally favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 73 based on eleven reviews.[1]
Matt Bauer of Exclaim! gave the album 9 out of 10 stating: "Everything's Beautiful, indeed".[8] Emmanuel Elone of PopMatters found the album "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".[6]Andy Gill of The Independent wrote: "Erykah Badu lends a childlike charm to the sunburnt fizz of Glasper's bossa nova version of "Maiysha (So Long)", with Miles's trumpet shining through towards the end".[4] Seth Colter Walls of Pitchfork wrote: "a trio of cuts toward the middle of Everything's Beautiful suffers from feeling less robustly reimagined than the rest of the set--placing a slight drag on momentum".[7]AllMusic's Andy Kellman wrote: "considering the disparate source material and the quantity of vocalists, instrumentalists, and producers involved, it's remarkable how smoothly the album flows from one track to the next. Unsurprisingly, it's most appealing to fans of Glasper and those he involved".[9]Greg Tate of Rolling Stone stated: "Glasper and his confreres have used Davis' inspiration to craft a moving and misterioso assemblage that, true-to-the-living Davis, refuses any scent of museum entombment".[2]
In mixed reviews, The Wire critic suggested: "Glasper is undoubtedly a class act, but the lacks the wildness a Madlib or a Flying Lotus might have brought to this project".[1]Mojo reviewer clared: "smooth soul or hip hop tropes being largely the order of the day here".[1] Siddhartha Mitter of The Boston Globe wrote: "the middle of the album is a problem, especially the Hiatus Kaiyote number, "Little Church", a strange, bloodless clunker that drags down the Mvula ("Silence Is the Way") and KING ("Song for Selim") features that follow. The Badu track, the electro-bossa nova "Maiysha (So Long)", is fine but familiar. Miles Davis concept aside, Glasper's still in Black Radio mode. It works, but it needs a little dirt, and probably a new challenge".[1] Mark Streeter of Now wrote: "in a way, this could be Glasper's Black Radio Volume 3: The Davis Edition. However, positioning the album as a tribute runs counter to his forward-looking use of the material".[1]
Track 2 contains a sample of "The Ghetto Walk" written by Miles Davis, as performed by Miles Davis
Track 4 contains a sample of "Maiysha" written by Miles Davis, as performed by Miles Davis
Track 5 contains a sample of "Blue in Green" written by Miles Davis, as performed by Miles Davis
Track 7 contains a sample of "In a Silent Way" written by Josef Zawinul, as performed by Miles Davis
Track 8 contains a sample of "Selim" written by Miles Davis, as performed by Miles Davis
Track 10 contains a sample of music and Miles Davis talking from Jack Johnson sessions
Track 11 contains a sample of "Right Off" written by Miles Davis, as performed by Miles Davis, and an interpolation of "Nefertiti" written by Wayne Shorter
Personnel
Robert Glasper – keyboards (tracks 2–4), percussion (track 4), piano (tracks 7, 9), producer (tracks 1–4, 7, 10), liner notes
