About Modern Traditionalism
Modern Traditional Aesthetic
by Eddie Landsberg
When creating art it is very important to have a concept or idea you want to get across. This is because music is a language. Its purpose is to communicate things. Though different languages predispose people to different types of thinking, a language itself never directly dictates what you can say or talk about, though it may dispose you to certain ways of thinking. To this extent, it is important in my thinking to think about the history, culture and aesthetic traditions of the music we're playing. For this reason, it is important not only to pick tunes, but to listen to and try to incorporate the style of players important to the tradition in order to develop and authentic feel.
The Modern Traditionalist Approach aims at balancing tradition and authenticity with "forward momentum" - - meaning that it recognizes that just as music has its roots, it must also always be growing and changing and that the musicians who are playing it have not only a right, but an obligation to contribute to the music. This usually means playing the music authentically, but taking those traditions and applying one's own concept to it. Compare for example Art Blakey's "literal" expression of the upbeat, by strongly clicking his high hat or hitting the rim shot, to Elvin Jones's acceptance of the upbeat, but more abstract expression of it through rhythm. Both players understood the importance of the upbeat in Jazz, but had different ways of expressing it. Another example is the transition from bebop style soloing to modal improv. Actually, the tones are virtually the same whether you call it a chord, a scale or a mode, but the way of thinking results in the player to approach the tones very differently.
So from this approach, when I play in a band I like the band to start by focusing on a certain style (since I'm a Jazz organist, common sense is for it to have some connection to the Jazz organ tradition) and to master it with as much authenticity as possible. The modern element is that the players are not expected to copy what other musicians in the style have played blindly... but rather to understand their ways of thinking and aesthetic philosophies and apply them to the music. This is the "common ground of communication" and the "unwritten game rules" of the group. From there - - anything can happen.
The Basic Rules
1. Band adapts a historical tradition. In my case in will usually be the Jazz organ sound that was popular from 1957 until the latter early 70s. Players should do a lot of listening and make efforts to adopt some of the "isms" of these tradtions. Each member should strive to become well listened, well informed and open mindedlly authoritive in the style.
2. The band develops its feels and repoitoire from this tradition as a starting point. The band strives to communicate the style with purpose, zeal and enthuisiasm.
3. As the players connect the band then begins to bring other concepts and styles of playing into their sound. They do this, however, having become more aware of the aesthetic perspectives of the music they play, what they like or don't like about it, and an idea what other influences will bring to the music.
<-- from this starting point and it can lead in any direction. There are no limitations!
And this is my basic aesthetic. I believe that the end result is intelligent and soulful music !
by Eddie Landsberg
When creating art it is very important to have a concept or idea you want to get across. This is because music is a language. Its purpose is to communicate things. Though different languages predispose people to different types of thinking, a language itself never directly dictates what you can say or talk about, though it may dispose you to certain ways of thinking. To this extent, it is important in my thinking to think about the history, culture and aesthetic traditions of the music we're playing. For this reason, it is important not only to pick tunes, but to listen to and try to incorporate the style of players important to the tradition in order to develop and authentic feel.
The Modern Traditionalist Approach aims at balancing tradition and authenticity with "forward momentum" - - meaning that it recognizes that just as music has its roots, it must also always be growing and changing and that the musicians who are playing it have not only a right, but an obligation to contribute to the music. This usually means playing the music authentically, but taking those traditions and applying one's own concept to it. Compare for example Art Blakey's "literal" expression of the upbeat, by strongly clicking his high hat or hitting the rim shot, to Elvin Jones's acceptance of the upbeat, but more abstract expression of it through rhythm. Both players understood the importance of the upbeat in Jazz, but had different ways of expressing it. Another example is the transition from bebop style soloing to modal improv. Actually, the tones are virtually the same whether you call it a chord, a scale or a mode, but the way of thinking results in the player to approach the tones very differently.
So from this approach, when I play in a band I like the band to start by focusing on a certain style (since I'm a Jazz organist, common sense is for it to have some connection to the Jazz organ tradition) and to master it with as much authenticity as possible. The modern element is that the players are not expected to copy what other musicians in the style have played blindly... but rather to understand their ways of thinking and aesthetic philosophies and apply them to the music. This is the "common ground of communication" and the "unwritten game rules" of the group. From there - - anything can happen.
The Basic Rules
1. Band adapts a historical tradition. In my case in will usually be the Jazz organ sound that was popular from 1957 until the latter early 70s. Players should do a lot of listening and make efforts to adopt some of the "isms" of these tradtions. Each member should strive to become well listened, well informed and open mindedlly authoritive in the style.
2. The band develops its feels and repoitoire from this tradition as a starting point. The band strives to communicate the style with purpose, zeal and enthuisiasm.
3. As the players connect the band then begins to bring other concepts and styles of playing into their sound. They do this, however, having become more aware of the aesthetic perspectives of the music they play, what they like or don't like about it, and an idea what other influences will bring to the music.
<-- from this starting point and it can lead in any direction. There are no limitations!
And this is my basic aesthetic. I believe that the end result is intelligent and soulful music !
