Discussion of authenticity/respect for the past when playing world music.

[NickyBass]

Over the years, I've done a few, what some might call, 'world' music gigs. Tango, Bollywood, Afro-Cuban/salsa, opera etc.

I thought it would be interesting to get the thoughts of others about how authentically these styles should be played. Obviously, there are certain elements that cannot be ignored, but how strict are you, personally, when approaching other styles?

I try to respect the past, and try to understand the personal and political situations that people may have had to overcome to create the music. The more I understand about that, the more I understand why some people hold their music so close to the heart and may frown on 'outsiders' from playing it.

Since I am trying to be a well rounded musician, my thought is that learning the music of other cultures will only positively affect the music that I play and compose. When it gets down to it though, I am probably more open minded about change since I am not immersed in one style. I would love, just as an example, to hear a bass tumbao played by a tuba player instead---which would probably be met with a lot of scourn. However, I would want that tuba tumbao to be played authentically.

I know that there are a lot of guys within certain genres that are really open and are really pushing what can and can't be done. I'm not talking about a pop band playing watered down reggae. I'm talking about guys like Astor Piazolla who took tango in nuevo directions.

I do think that, in order to play the music from another culture, one should have a good to firm understanding of the roots and should respect the music. I don't feel that following a strict guideline of instrumentation or song structure/form is absolutely necissary, though it can't hurt.

As far as my own personal music, I try to blend styles into something completely new. There are certain compositions where it is obvious where the influence came from, but my goal is to have a free spirit to the music.

I am looking for your personal feelings, but also the feelings of the pioneers, innovators and against-the-grain musicians. I know that Mongo Santamaria and Willie Colon have completely different opinions on how Cuban music should be approached and executed.

[Fletcher Lanning]

I think it depends on how you present it. As long as you're not presenting it as a traditional tumbao or tango then theres no reason that you can take your own musical liberties. Presenting a piece as being influenced by traditional cuban rhythms or melodies can only serve to INCREASE interest in the more traditional forms. Everyone is served by the music getting out there.

[NickyBass]

That's a good point, Fletcher. Thanks for the insight.

I come from a jazz backround. I guess a good example would be to compare two current jazz trumpeters. Wynton Marsalis is playing historical music and keeping the old tradition alive....While Roy Hargrove is mixing elements of jazz with elements of newer R&B/hip hop. Both are valid forms of expression. Roy Hargrove has a firm grasp of both jazz and hip hop, so it comes together naturally.

That is not to say that I categorically favor exploration over tradition, but it is a good example in the jazz scene. I don't have nearly the same experience with other world musics, so I am looking for some other opinions.

[kesslari]

I do think that, in order to play the music from another culture, one should have a good to firm understanding of the roots and should respect the music. I don't feel that following a strict guideline of instrumentation or song structure/form is absolutely necissary, though it can't hurt.

I think that the better you understand and can express the traditions of a musical culture or genre, the better your chances of successfully innovating based on it.

It's like someone who has never played jazz, saying "I play only free jazz" as a way to explain random noodling (yeah, I met that guy) - anyone who knows jazz knows that ain't it.

In my life I've gotten very deep into traditional Arab, Turkish, Greek and Balkan musics. I know how to play the repertoire correctly. I can adopt the proper stylistic nuances.
Now that I can do that, I can play with them - I can incorporate other genres and traditions and make it work, and be accepted by audiences and musicians from those traditions.

There is a great quote - I don't have the exact citation, but it is from an Arab composer several hundred years ago.
I can only paraphrase, but you'll get the idea.

"A person who adds to a song, or changes a melody, can be our friend.
A person who changes a rhythm can be our friend.
But a person who unknowingly changes a song, or a melody, or a rhythm - that person can not be our friend."