Notes from the Recording Studio
COMPLEXION/DARK is calling me to think beyond my usual creative lens and process. Some things are being flipped on their head, others are being destroyed. Most importantly, I am diving deep into my spiritual well to drink from my original Italic culture and artistic essence. At best, rusty. And at worst, lost-but-now-found. I have never felt so free as an artist in all my life.
What a strange paradigm. The soulful artist who is all “feel” is shamed for not “understanding” theory. The educated artist becomes sterile—detached from cultural significance—longing for those early days of no constraints. Just pure, unfettered freedom of expression. They long for a world beyond chord progressions, rhythms, and melodies that “make sense.” They are tired of constant hooks and universal lyrics for the average white listener’s short attention span.
I am very fortunate to have known and/or experienced many artists who defy this paradigm. I’m even married to one! These artists send “expectations” running to the hills. They are truly authentic, original, standing strong against that incessant red-white-and-blue parade that tramples so many underfoot. They push boundaries while staying true to tradition.
Wynton Marsalis, who is highly educated while simultaneously dripping in cultural soul, feel, and tradition, was subjected to the projections of jazz “critics” who felt his style was too clinical or perfect…basically, another Black person being told they are “too good” or a “freak-of-nature.” The truth is, he is one of the best there ever was. And the best always embody these seemingly paradoxical conditions of new and forward-thinking, yet a part of the common thread and true to tradition. Jimi Hendrix played the Blues, but in his high-octane, futuristic way. Oki Kano keeps the music of the Hokkaido Ainu alive by mixing modern rhythmic sensibilities with indigenous melodies and traditional instruments such as the tonkori.
I am not saying I regret my musical training or that there is no purpose to studying your artistic medium’s literature. Many music educators will tell you to “learn the rules…and then break them!” I am certainly a better musician as a result of my training in various musical traditions and, yes, even my understanding of these theoretical rules. My main problem is that these “rules” are usually Western Eurocentric (read: white), and are applied liberally to many musical traditions outside of their own.
One need not look further than any enthusiast’s YouTube feed consisting mostly of “White Person Explains What This Music Legend Is Doing: A Breakdown.” These systems of thought do not even fully apply to the indigenous musical traditions within Western Europe, such as the Abruzzese folk music I am currently studying. I suppose it would be wise for us all to remember what it means to teach versus break down, explain, or unpack. Understanding why and not simply relying on what.
This project involves my wife and I examining cultural experiences while shedding expectations; comparing, contrasting, and forging something new with the experiences of our collaborators. Together, we aim to help the audience discover the truth somewhere in the middle.
Daniel Di Monte, STUDIO DI MONTE
Abruzzo, Italy