i feel like there is a kind of dionysian thread of divinity that runs from hindustani to modal jazz to hip hop

@pujz say more

@danmelnick i feel like i have to think about this more to say something truly meaningful but i find it notable that the pursuit of underlying orders through harmonic chaos, the dispensing of rigidity and creative destruction that was exercised by alice coltrane, pharaoh sanders, other modal giants led them invariably to vedanta and hindustani music. atonality to the western ear is simply “more tones” to the eastern. this has a difficult-to-articulate spiritual counterpart

@pujz got it I’m with you on all of that

it’s also interesting to think about early blues as well with use of the slide and bends to explore that same space, and how that music is foundational for jazz — on that foundational side you can find plenty of precedent in African music, then on the aspirational side in Hindustani music

@danmelnick maybe that’s exactly why they mesh together so well - there is a seed of animism (or something similar enough) on both sides, something categorically different to the the western musical tradition. hesitantly theorising that this m leads to a musical difference wherein one style is composition first whereas the other is improvisation first

@danmelnick there are some ridiculously broad brushstrokes here, most obviously the synthetic separation of “west and the rest”. like even in india, hindustani (northern) music is improvisation heavy whereas carnatic (southern) music is composition heavy