- Part of 'A topology of musical encounter' (summary) -
“I learned a lot from Colombian folk music. I analyzed the rhythmic and melodic function of each instrument in the folksongs. I can break it into different parts and translate in a new relation to each other, and create new compositions out of the separate elements. I try to grab the original diction of a drumpattern, but then compose a bassline out of it. It creates more languages, which is necessary in jazz where the language is quite defined and restricted. Also on the level of improvisation all of musicians need to internalize the rhythms to be able to apply this new language. You need to be able to talk with the phrasing related to these rhythms to tell your personal story in the music.”
- in conversation with Diego Nicolas, bass-guitarist
Let’s generalise Diego Nicolas example as ‘ethnic influenced jazz’. His treatment of his own ethnic roots in Colombia influences is focused on conceptual translation of the material into a new sounding result. This is only one of the many attitudes towards general interest in blending musical cultures. A way of working with ethnic influences that opposes this one is for instance the approach of Jan-Wouter Oostenrijk in his collaboration with Moroccan musicians:
“The power of Maghreb music is the common emotions of the audience attached to the different grooves. This is why it wouldn’t work to innovate the structure of the music. The audience would be disappointed, since they wouldn’t catch the spirit of the rhythm. It will not be the same thing for them, and next time they simply won’t come anymore. It is for the togetherness in the rhythms they know collectively the audience comes to my concerts, not for my personal musical experiments. The same counts for the Moroccan musicians I work with. I have never asked them to play other rhythms than the original one they knows. I like to give them the opportunity to play the music they are proud of. I feel completely free to play the guitar anyway I desire, and incorporate my background in jazz, rock and reggae when I improvise. The musical surrounding of the Maghreb that I choose to work with, I respect as it is. I believe that being able to remain yourself among others is essential for integration and understanding of each other’s identity. I stick to this in the way I play and create music.”
- in conversation with Jan-Wouter Oostenrijk, guitarist
Possibly influenced by the fact that Jan-Wouter doesn’t have roots in Morocco, he likes to position himself as a happy guest in another culture. Unlike Diego Nicolas he doesn’t translate this ethnic influence on different levels of the composition, but exhibits them next to each other as they are. Also his guitar playing is not the internalization of these influences, but a free eclectic improvisation with the Maghreb rhythms as a musical surrounding. Their opposing ways of treating materials interests me, because somehow both musicians are dealing with the same problem and both come up with interesting yet different solutions, honest to their personal views. So if I have the interest to uncover new perspectives on this topic, it could be a daring and interesting encounter to confront the musicians with each other’s way of working, and working with the esthetic problems that opposing musical views present can be of great research value.
This example is shows that not only positive connections are worth to be researched, but also opposition around the same topic is very temping and probably desired to make happen. If we bring together two musicians within the same style that have a different approach and opinion on the same topic, this is definitely within the scope of our intentions, which is to innovate music by establishing new connections between musicians.
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